life

Ron Duguay, a longtime New York Rangers star who finished his NHL career with the Kings, has died of cancer. He was 69.

The Rangers announced the loss of “one of the most popular players in franchise history” on Thursday morning after being informed by Duguay’s family.

“Ron’s signature skating style — with his hair flowing as he moved down the ice — captivated The Garden Faithful, and his skill, tenacity, and charisma earned him the admiration of all New Yorkers,” the team said in a statement. “We join the hockey community in sending our condolences to Ron’s friends, family, and loved ones during this difficult time.”

Former Alaska governor and 2008 Republican U.S. vice presidential nominee Sarah Palin, who dated Duguay over the last several years, posted on social media that the one-time NHL All-Star “passed away peacefully” Thursday “after a hard-fought battle with cancer.”

“It’s with a shattered heart, but also deep peace knowing Ron is with Jesus now,” Palin wrote. “He fought so hard. Love never ends.”

On Sunday, Palin posted photos that appeared to show her holding Duguay’s hand while he was in a hospital bed. “Prayers for Ron Duguay are felt & appreciated,” she wrote.

Born in Sudbury, Ontario, Duguay was selected by the Rangers at No. 13 overall in the 1977 draft. Known for his long, curly hair and flashy lifestyle — “why, he even danced with Cher at one of Manhattan’s best-known discos,” the New York Times wrote in 1983 — Duguay became a star during the six seasons of his initial stint in New York. He helped the Rangers make the 1979 Stanley Cup Final and earned his only All-Star nod in 1982.

Ron Duguay, front left, blocks out New York Rangers’ Carey Wilson as Kings teammate Marty McSorley winds up to shoot Feb. 27, 1989, at Madison Square Garden.

(Ron Frehm / Associated Press)

Duguay was traded to the Detroit Red Wings in the summer of 1983 and had the two best seasons of his career, including career highs of 89 points on 38 goals and 51 assists during the 1984-1985 season. He also played for the Pittsburgh Penguins and a second time for the Rangers before wrapping up his career with the Kings from 1988 to 1989.

Overall, Duguay had 673 points (305 goals, 368 assists) in the NHL regular season and playoffs. He went on to play in the minor leagues, including two seasons with the IHL’s San Diego Gulls, and spent 12 years calling Rangers games as an MSG Network analyst.

“Ron greeted each day with the biggest smile, an incredible zest for life, and a positive outlook that shone through everything he saw, everything he did, and every life he touched,” the NHL Alumni Assn. wrote on X. “He will be remembered not only for the player he was, but for the extraordinary person he was. His warmth, his laughter, his kindness, and his beautiful spirit will forever remain in the hearts of his family, friends, teammates, and the entire NHL Alumni community.”

The Kings reposted the alumni association’s statement and added: “Our hearts are with Ron’s family & loved ones and we join them in mourning his passing.”

In 2024, Duguay was diagnosed with Stage 4 cancer, which had started in his colon before spreading to his liver and other parts of his body, according to a post on the GoFundMe page set up by his three adult children to help pay for his medical and travel costs. He lived in Florida but had to make regular trips to Orange County for treatment.

“Early this morning, our beloved father took his final breath after fighting a long and courageous battle. He fought with everything he had, right until the very end,” daughter Shay Thomas wrote on Thursday in a separate GoFundMe post. “Our hearts are shattered, and the world feels a little less bright without him in it. He will be missed by so many, but we find peace in knowing that he is finally free from pain and suffering.

“He fought the good fight until his very last breath, and today, Heaven gained a truly special angel.”

Mohammed Annour spent much of his youth living in a flimsy shelter in a dusty, overcrowded refugee camp in east Africa, where the days were long, the food was poor and the future nonexistent.

“Go to the army and fight. That’s one option,” said Annour, who fled war in Sudan for the refugee camp in Chad when he was 9. “The other one is you stay there. But you don’t have a future.”

If he had stayed, Annour, now 33, has little doubt how his story would have ended.

“Probably,” he said, “I’m dead.”

Mohammed Annour, a refugee soccer player who became a coach, and Alan Barker, chairman of the Mighty Cosmos, look across a field in Sweden.

(Courtesy of Darren Hamlin)

Instead, he’s in Sweden, raising two boys, working as a quality control inspector for a textile company and playing amateur soccer for a team in the country’s fifth division. And the only thing that separates his experience from the tens of thousands of desperate people he left behind in the camp is the fact someone believed in him enough to give him a chance.

“Everybody needs a chance,” Annour said. “Don’t throw people out. People just need a chance in life.”

“And we got that chance,” he continued, “because of Katie-Jay and Gabriel.”

That would be Katie-Jay Scott and Gabriel Stauring, a pair of South Bay activists who showed up at Annour’s camp on a blazing hot day in 2011, rolled a battered soccer ball across a barren field and transformed an untold number of lives.

Scott and Stauring founded the humanitarian group iACT largely to respond to the crisis in Darfur, a semi-desert plateau in western Sudan that has known nothing but war this century. But unlike many of the dozens of other similarly minded people and groups working in Africa, Scott and Stauring came not to preach, but to listen. They came with questions, not answers.

And what they were told was that the children in the camps needed more than food and shelter. They needed a routine, they needed recreation, they needed joy and they needed hope.

Founders of iACT Gabriel Stauring, left, and Katie-Jay Scott hold up gifts they received after a training session in the Central African Republic. Stauring and Scott were killed in a car crash in 2021, but their nonprofit continues to support refugees.

(Courtesy of iACT)

In other words, they needed soccer.

“Many organizations came into the camps. They just came around and took some pictures and then they leave,” said Annour, a slight man with a serious countenance. “I think [Scott and Stauring] understood us as humans, not just these kids or these people who need food or shelter.

“They saw another side. They saw these people that can make something in life.”

Stauring and Scott were killed in a car accident in Manhattan Beach five years ago, but their legacy lives on in the unique advocacy and aid program they created, one that uses soccer to teach skills and provide structure to refugees stranded in camps, shelters and intolerable poverty in four countries on two continents.

“They were so kind, careful,” Annour said. “Listening to everyone. It didn’t matter where you came from, which color you are. They were open and gave time to everyone they met.”

“Honestly, I didn’t know they were going to change my life or anything,” added Moubarak Abdallah, another refugee introduced to soccer by Scott and Stauring. “I saw them as other people who just come and go. But they were quite special people.

Grace Tanda, of the Mighty Cosmos, strikes the ball during a match. The soccer team in Sweden is comprised of refugees.

(Courtesy of Darren Hamlin)

“They wanted to help our ideas shine, to [give] other people hope. They were listening to what I needed.”

Today, there are more than 5,000 children participating in iACT soccer academies in Chad, the Central African Republic, Cameroon and Mexico. Another 1,800 children are enrolled in the group’s Little Ripples preschool program, which also served 475,000 meals to students and staff last year.

But the organization, like many similarly focused humanitarian groups, is fighting for its survival amid a global backlash against refugees and migrants.

The hostility has been especially strong in the U.S., where the second Trump administration has sharply restricted immigration and asylum access and drastically cut congressionally approved spending for life-sustaining programs previously funded through USAID. Many European countries have followed that lead, adopting a stauncher approach to border enforcement and deportations and slashing support for development assistance by 13.8% in 2025, the largest cut in a decade.

This summer, violent anti-immigrant protests in South Africa forced more than 178,000 people to flee to Zimbabwe, Malawi, Nigeria and other countries, reversing a trend that has seen the region’s richest country welcome migrants to work on farms, in construction and other low-paid jobs. Public sentiment toward refugees and migrants has also hardened elsewhere, creating a crisis for nonprofit aid groups.

The Office of the United Nations High Commissioner for Refugees, or UNHCR, this month warned the gap between humanitarian needs and donor contributions is widening, leading to deep cuts and forcing aid groups to fight one another for the shrinking dollars that remain — all at a time when conflicts in Syria, Gaza and Ukraine have swelled the number of refugees worldwide to nearly 42 million; another 69 million people are displaced.

That’s more than 1 out of every 70 people on Earth, according to the UNHCR.

Annour and his family were once part of that wave, fleeing their home in Sudan in 2003, stepping around dead bodies and witnessing unimaginable horror, to escape one in a series of continuing civil wars that have given way to genocide. More than 15 million people have been displaced in the 23 years of fighting, with more than 1.3 million still stranded in teeming refugee camps in eastern Chad.

Annour said he would have perished there if not for Stauring and Scott, who introduced soccer to their camp. Three years after the pair arrived, an international tournament for stateless players, the CONIFA World Football Cup, was held and iACT entered a 20-man team comprised of players from 12 camps. Annour, a left back, made the cut as did Abdallah, a physical midfielder with a perpetual smile who would become the team captain.

“No one is thinking this [is] going to be life-changing,” Abdallah remembers thinking. “You know, there was like a small chance but it became big dreams for us.”

The team, Darfur United, was outscored 39-0 in its two games in Ostersund, Sweden, but most of the players chose to stay in Ostersund rather than return to their camps and were welcomed by the Swedish government. They received asylum and eventually formed an integration team, the Mighty Cosmos, that advanced as high as the fifth division of Swedish soccer.

Abdallah is a natural leader, said Alan Barker, chairman of the Mighty Cosmos, and the kind of person who receives total respect from the other players.

Mugenyi Ngabu, left, cheers during the Mighty Cosmos’ match in Sweden. The team is comprised entirely of refugees.

(Courtesy of Darren Hamlin)

“He is a sort of guy you can rely on 100%,” Barker said. “Personally, I would trust him with my life. He is a doer, not a talker. A problem solver not a problem creator. And he always wants the best for everybody.”

Annour, he added, has been troubled by knee injuries on the field but remains “a strong and quiet yet forceful personality of the group.”

“He is a passionate believer in fair play and honesty and has no room for dishonesty or deception in any aspect of life,” Barker continued. “Maybe that’s a reflection of his childhood in the refugee camps and Chad, where there was no time for such things. He’s a sort of guy whose name would be first on the team sheet. The team sheet of football and life.”

More important is the fact that the players, teenagers or young adults when they arrived in Sweden, have married, had children of their own, become citizens and integrated into the local community, where their civic work was this year recognized with one of Sweden’s most prestigious awards.

“I never dreamed to be in this position when I was a kid. I was trying to survive, to live day by day,” said Annour, who is working three jobs to support his sons, aged 1 ½ and 4.

“I’m here. I can provide for my family. Moubarak provides for his family. It’s like saving a generation, not just me and Moubarak.”

“It’s about the chances,” agreed Abdallah, 35, who also lives in Sweden where he coaches the Mighty Cosmos while raising a 5-year-old son.

“The door has to open. That’s all.”

iACT offered a way to open those doors when it first rolled that battered soccer ball onto a dirt lot. Without that, “these guys wouldn’t be here, wouldn‘t have the lives they have,” said Darren Hamlin, a British filmmaker who has started a Kickstarter campaign to fund a documentary on the refugee players.

By focusing on single players and their game and not the vastness of the sprawling global refugee crisis, Hamlin says the film has the power to redefine these former refugees not as obscure numbers but as flesh-and-blood people with dreams and talents and aspirations. That was what inspired Scott and Stauring when they founded iACT.

“Football has this power to transcend sports. It becomes an emotional thing,” said Hamlin, who is behind on his goal of raising $66,000 by the end of the month to expand work on the documentary. “It doesn’t matter how many stats or things we put in front of people; they don’t really pay attention.

“But football kind of goes deeper sometimes. Football is kind of the vehicle that delivers the message.”

Getting that message out, however, is becoming increasingly difficult. As government funding for refugee programs around the world has dried up, groups like iACT have found themselves fighting for the same slice of a much smaller funding pie.

“Fundraising at all levels has become more difficult with the gutting of USAID, especially with the increase in larger NGOs [non-government organizations] applying for foundation grants,” said Merri Weir, a retired teacher and iACT board member since 2016. “It is becoming harder and harder because we’re competing with larger NGOs. The funding stream has become tighter.”

At the same time, the need has swelled.

“The refugee camps in Chad are still very unstable,” said Weir, who has visited the camps multiple times. “The current war has not ended and shows no sign of ending. Refugees are still coming across the border, which has more than doubled the number of Sudanese refugees.

“It is critical that we are able to sustain our current refugee-led programs.”

In response, Weir’s group, which will hold its annual fundraising event in Manhattan Beach next month, has considered everything short of a corner lemonade stand and selling chocolate door to door to make up for the lost financial backing it needs to continue what Scott and Stauring started.

“In the past, it is our uniqueness and our innovation and our refugee-led action [that] set us apart,” said Weir. “It was very appealing.”

The Trump administration complicated things even further in June 2025 when it instituted a travel ban and entry restriction list on Chad, leading the Chadian government to retaliate by revoking visas for American citizens, including aid workers. That means fewer children playing soccer and attending preschool, fewer meals being served — and fewer success stories like the ones told by Abdallah and Annour.

“I spent 12 years in a refugee camp,” Abdallah said. “People just hope to get a meal for the day. [iACT] brought the footballs and then just brought the idea. A chance to change our lives. Opportunity.

“There’s a lot of people in the refugee camps [that] could be pilots, doctors, better football players. Maybe there is the next Lionel Messi, Cristiano [Ronaldo], Lamine Yamal in the camp. But they don’t have any opportunity to get out.”

“The world is crazy. It’s just war everywhere,” added Annour, who is about to begin a college course on sports science. “Those people who don’t like refugees, who don’t want the United Nations to bring more refugees, they need to put themselves in our shoes.

“People are so naive to think they can just ignore what’s going on. It’s getting bigger every day.“

Abdallah and Annour may have left the camps, but the camps have not left them. The work they have done in Sweden includes the construction of a community sports and culture center, addressing crime prevention and mental health, refugee resettlement, and fundraising efforts that support the work of iACT and other groups working with the people they left behind.

“My mom is still in the same camp, so I’ve been back three times now with a lot of footballs, football boots and football equipment,” Abdallah said.

Scott and Stauring, who lived in Redondo Beach before the fatal car crash, thought they were bringing soccer to the camps in Africa, but what they really brought was hope and proof that if someone just opens the door, you might be surprised what you find on the other side.

Mekelle, Ethiopia- In Mekelle, shops are reopening, and banks are resuming services, but residents remain anxious about what comes next. Ethiopian federal forces and allied fighters retook the Tigray regional capital on October 4, as renewed fighting raised fears that the region’s fragile recovery could be derailed once again.

Tigray, in northern Ethiopia, is still recovering from the 2020–2022 war between federal forces and the Tigray People’s Liberation Front (TPLF), the region’s dominant political movement. For residents, the return of fighting has brought new uncertainty over jobs, education, security and the future.

Daily life resumes, but hardship remains.

Businesses and financial services are gradually reopening in Mekelle, but many households are struggling to afford necessities. Delayed salaries have left public employees struggling to cover food, rent and school costs, while years of conflict have depleted family savings.

“Things may be reopening, but that does not mean our problems are over. We still have expenses every day, and without our salaries, it is difficult to know how we will manage,” said Gebregziabher, a public servant in Mekelle.

The funding crisis has affected the wider public sector. In March, Tigray’s interim administration said it could no longer cover monthly salaries for about 137,000 civil servants because expected federal budget transfers had not arrived. In April, the regional finance bureau reported an 8.5-billion-birr (about $52,000) funding shortfall affecting salary payments and development projects.

For many residents, the reopening of businesses offers only a partial return to normality. Without reliable incomes and greater security, everyday expenses remain difficult to manage.

Students fear losing more time

For students in Tigray, renewed fighting has revived fears of another interruption to their education. Many already lost valuable study time during the previous war and worry about falling further behind.

In Adigrat, Shewit, a grade 10 student, said uncertainty about classes and security had left him worried about his future.

“I have already lost so much time because of the war. I am afraid that if our education is disrupted again, I will lose another year and fall further behind,” he said.

Some university students have left Tigray for Addis Ababa, Ethiopia’s capital, to seek transfers to other public universities. The Ministry of Education announced temporary placements at universities elsewhere in the country for students enrolled at institutions in Tigray. More than 5,000 returning students had applied by September 17–18, according to reporting on the ministry’s programme.

Abel, a third-year student at Axum University, travelled to Addis Ababa to request a transfer.

“I didn’t want to leave, but I also can’t keep putting my education on hold. I came to Addis to see if I can transfer to another university and continue my studies. I just want to finish what I started,” he said.

For students who have already lost years to conflict, the uncertainty means more than interrupted classes. It threatens to delay graduation and make an already difficult path to employment even harder.

Border communities fear a wider conflict

Near the Eritrean border, military movements and conflicting accounts of troop deployments have heightened fears that the fighting could spread beyond Tigray.

On October 8, The Associated Press reported claims by a commander allied with Ethiopia’s government that Eritrean troops had entered Adigrat earlier that week and Idaga Hamus the following day. The AP said it could not independently verify those accounts. The conflict-monitoring organisation ACLED separately reported Eritrean troops crossing the border at Zalambessa.

On October 13, Reuters reported that Ethiopian government forces had advanced into Zalambessa, citing people in contact with residents and other sources. The report said it remained unclear whether Eritrean troops or Tigrayan opposition fighters were still present in the town. The differing accounts underscored the difficulty of establishing control of individual towns as the fighting shifted.

The developments have unfolded amid worsening relations between Addis Ababa and Asmara. On October 8, Ethiopia’s foreign minister, Gedion Timothewos, accused Eritrea of sending troops as far as 60km (37 miles) into Ethiopian territory in several areas of Tigray and appealed to the United Nations Security Council to respond.

Eritrea has denied invading Ethiopian territory. Its government said Ethiopia’s accusations amounted to a declaration of war and called on the Security Council to take action against Ethiopia. The competing claims have raised fears that renewed fighting in Tigray could lead to a direct confrontation between the two neighbours.

Ethiopia and Eritrea fought on the same side during the 2020–2022 Tigray war, when Eritrean forces supported the federal government against the TPLF. Their deteriorating relations have added a regional dimension to the renewed conflict.

In Zalambessa, residents are watching developments with concern. One resident, who declined to be named, said the uncertainty made it difficult to know what to expect in the coming weeks.

An uncertain road ahead

On October 16, Ethiopian Prime Minister Abiy Ahmed announced a six-month caretaker administration for Tigray, tasked with restoring public services, helping displaced people return and preparing the region for elections. The announcement followed the federal forces’ takeover of Mekelle and other major towns.

The federal government says the temporary administration will help restore stability and pave the way for elected regional leadership. The TPLF has opposed the federal advance, and it remains uncertain how effectively the new administration will operate across the region.

For residents, the immediate concerns are whether salaries will be paid, schools and health facilities will function, and displaced families will be able to return safely.

In Zalambessa, Gebrehiwot said residents knew from experience what another conflict could bring.

“People are worried because we know what war means for this area. We have already suffered enough, and nobody wants to see things reach that point again,” he said.

NEW YORK — “860,” the title of Billy Crystal’s tremendously moving new Broadway show at the Imperial Theatre, refers to the address of his house in the Pacific Palisades that was destroyed in last year’s fire.

Crystal re-creates the events of Jan. 7, 2025, as the wildfire that began in the Santa Monica Mountains started making its way down toward his home at 860 Chautauqua Blvd. Video clips of the escalating emergency are shown as a cardigan-clad Crystal, standing in a facsimile of his home office (the conjuring work of scenic designer Scott Pask), re-creates the horror of having to decide what to take with him as the evacuation orders come in.

The photos, awards and other memorabilia aren’t just souvenirs of his storied career. They are pieces of the life he built with his wife, Janice, and their two daughters as well as a record of the friendships that made Hollywood feel like a welcoming community for a wide-eyed Long Island kid.

“860,” impeccably directed by Scott Ellis, occurs in a series of flashbacks. Crystal brings us back to what it was like as he and his wife made their way across a jam-packed Sunset Boulevard in separate cars to the safety of their daughter’s house as smoke and flying embers turned their small-town paradise overlooking the Pacific Ocean into an apocalyptic war zone.

A baseball superfan, Crystal gives us the play-by-play as though he were calling a World Series game that had taken an unimaginable turn. Hana S. Kim and Kylee Loera’s video design turns us into eyewitnesses of that terrible day.

I was in Los Angeles when the Palisades and Eaton fires broke out, but I was far enough away not to feel the immediacy of the threat. Crystal had me in full fight-or-flight mode, as if I were in the car behind him going 5 mph along the only route out of danger.

Billy Crystal in “860” at the Imperial Theatre on Broadway.

(Avery Brunkus)

Making a show about a recent public trauma isn’t easy to pull off, but Crystal has managed it as perhaps only he could. “860” is a meditation on loss, but it’s also a theatrical memoir of his multifarious career as a comic, actor, filmmaker and celebrated Oscar host. He returns to his days on “Soap,” the controversial nighttime parody of a daytime soap opera created by Susan Harris that featured Crystal in the role of Jodie Dallas, one of TV’s first openly gay characters.

Crystal was living in an apartment in then-smog-filled Hancock Park with his wife and daughters when he was filming the show’s third season. The couple wanted to move to an area that had better air quality for their children, and someone asked if he knew about the Pacific Palisades.

“It was a small town, good schools, beautiful afternoon breezes from the nearby ocean, one main street with some shops, a deli named Mort’s that had lean corned beef and a lot of people who didn’t put mayonnaise on pastrami,” Crystal recounts.

The house they came to see wasn’t for them, but a for-sale sign at 860 Chautauqua caught their eye. The real estate agent told them that the owners “were very motivated to sell because they were very motivated not to be together anymore.”

It was December 1979 when, with a 30-year mortgage in hand, they moved into the house. Two women who grew up at 860 (“Imagine the twins from ‘The Shining’ — but they’re 55”) paid a welcome call to say how pleased they were that their former home was back in the hands of show people.

The original owners were vaudevillians who had a mind-reading act and were passionately into the occult. They socialized with the comic luminaries of their day, including humorist Will Rogers, who would regularly stop by on his horse. Behind a secret wall, Crystal found a hidden room with a cork board that had clippings that suggested maybe it wasn’t such an accident that the house became his.

Crystal, the emcee of all emcees (as his performance at this year’s Hollywood Bowl Opening Night once again proved), tells the story of his home with buoyant humor and charm, turning loss into living memory. To set up the meaning of what was destroyed, he takes us back to his roots, starting with his graduation in 1970 from NYU, where he took a film production class with a young Martin Scorsese, who would critique his work in a manner that Crystal, the Al Hirschfeld of celebrity impersonators, hilariously captures.

Crystal’s comic timing was honed in the clubs doing stand-up. Jack Rollins, the producing titan who managed Mike Nichols, Elaine May and Woody Allen, imparted some wisdom after watching Crystal’s act. Crystal thought he killed it that night, but Rollins told him that he failed to “leave a tip,” meaning reveal something about himself in his jokes.

Opening for Blood, Sweat & Tears in Scranton, Pa., a huge opportunity, Crystal faced a hostile audience. But he won the crowd over and thought maybe he could really make this stand-up comedy thing work. But then he was sent back out onstage after lead singer David Clayton-Thomas decided he didn’t want to perform and had to win the jeering music fans over again — and then a third time. While driving home on the New Jersey Turnpike to his wife and baby that night, he felt his future in front of him, having found not only his calling but also his voice.

Crystal’s luckiest break may have been in not being drafted during the Vietnam War, but a close second was being invited to do his Howard Cosell-Muhammad Ali routine at a televised gala for the boxing legend. Crystal not only crushed it but he made a lifelong friend in Ali, who was already his personal hero.

Bonds forged in comedy, like the one he had with Robin Williams, deepened into a lasting brotherhood. Norman Lear cast Crystal as Rob Reiner’s best friend on “All in the Family,” and life imitated art. Their successful collaborations — crystallized in the fake orgasm scene at Katz’s Delicatessen in “When Harry Met Sally” — were an outgrowth of their telepathic comic rapport.

In reviewing his famous life, Crystal reanimates parts of our own. And it’s this shared history that helps us understand what he lost when his house went up in flames. The magnitude of the devastation is made personal for all of us.

But just when you think things can’t get any worse, something completely unthinkable happens. For Crystal, this occurred at the end of 2025, his annus horribilis, when Reiner and wife Michelle were found stabbed to death at their Brentwood home.

Some things are too painful for words, and Crystal knows that sense cannot be made from senselessness. But he’s already told us so much about this unique friendship that nothing more needs to be said.

Crystal doesn’t wallow in grief or self-pity. He bears the weight of his losses with his wit and generous spirit to help us carry the weight of our own. (When he walked into a store to buy a new wardrobe after the fire, he reports, the salesclerk looked at him and said, “Let me guess … Ozempic?”)

No one gets out of this world without becoming a master of the art of losing, to invoke the poet Elizabeth Bishop. But laughter can sustain us through our losses, and Crystal thinks it’s no accident that one of the few things that was salvaged from the ashes of his home was a stone from his garden with the word “laughter” engraved on it.

I found Crystal’s previous solo show “700 Sundays” to be a touch mawkish, so I wasn’t expecting to be so powerfully moved by “860.” But this is just a brilliantly conceived and executed piece, and I hope it yields Crystal another Tony Award.

But even more, I hope the production finds its way home to where it belongs, Los Angeles. We could really use the fortifying laughter.

Amanda Cannon was taken ill while on holiday with her daughter

A British nan is fighting for her life in Turkey after suffering a heart attack while on holiday as her family faces a £25,000 hospital bill.

Amanda Cannon, 58, was rushed to intensive care after collapsing during a trip with her daughter Marisa White on October 10. The grandmother-of-nine from Redhill, Surrey, reportedly went without oxygen for 10 minutes after suffering what doctors believe was an epileptic seizure and cardiac arrest.

She is currently on life support in a private hospital in Antalya, Turkey. Relatives say her treatment is costing around €3,500 (£3,000) a day, with the bill already reaching €30,000 (£25,000).

Hannah Cooper, the mum of Amanda’s grandchildren, flew to Turkey with her five-year-old daughter after receiving a distressing call from Marisa. She said Amanda suddenly “jolted backwards”, turned blue and stopped breathing. Marisa immediately began CPR before paramedics arrived and took over.

No travel insurance

But because she has no travel insurance, her former daughter-in-law Hannah said Turkish medics would not stop treatment for religious reasons. They fear the mounting costs could run into hundreds of thousands of pounds if her condition does not improve.

Hannah, 33, from Shoreham-by-Sea, Sussex, told Talk to the Press: “She’s now in a deep coma. She’s got kidney failure, liver failure. They said there’s a 20 per cent chance that she’ll wake up and if she does, she’ll be in a vegetative state.”

She added: “I got a phone call from her daughter saying that she just suddenly jolted backwards, went grey, purple, blue, started foaming from the mouth and stopped breathing. Her daughter gave her CPR. Then when the ambulance got there, they took over. She went without oxygen for about 10 minutes.”

Doctors later told the family Amanda had suffered what appeared to be a seizure as well as a heart attack. She was placed on life support and remains in coma.

Amanda travelled to Turkey with daughter Marisa, who Hannah said suffered from many severe physical and mental health conditions. Concerned she would struggle to deal with the crisis alone, Hannah booked flights and travelled out to support her.

She said: “She doesn’t have the mental capacity to cope with what’s going on. The language barrier is so hard. We have to keep going on Google Translate to speak to the doctor because he doesn’t understand us and we don’t understand him.”

Medical costs stacking up

As the family tried to come to terms with Amanda’s condition, they were shocked to learn of the mounting medical costs. Hannah said she received a phone call asking for £5,000 shortly after Amanda was admitted.

She said: “I said to them that I don’t have £5,000, but I’d be flying over to Turkey. Since then, I’ve had several emails asking for payment.”

Hannah later discovered Amanda’s stay in the private intensive care unit was costing around €3,500 every day. She also revealed that the hospital wouldn’t release her to a public one until they cleared half of the bill.

Hannah said: “I’ve asked for a transfer to a state hospital where it would still cost money, but not like this.”

The family launched a GoFundMe appeal with an initial target of £15,000, but now fear the total bill could be far higher. Despite no longer being with Amanda’s son, Hannah said the 58-year-old has remained a huge part of her life.

She said: “She’s been like a second mum to me for 17 years. She’s always been my biggest supporter.”

Toll on family

The ordeal has also taken a toll on Amanda’s grandchildren.

Hannah said: “My eldest is asking a lot of questions and is upset. My little girl just keeps saying she wants to see her nan.”

She said doctors would either wait until Amanda was biologically dead or keep her alive. Hannah and her daughter are set to return to the UK on Sunday, October 18, while Marisa plans to fly back to Turkey after collecting medication.

Hannah concluded: “We’re upset, shocked and confused. We just don’t know what’s going to happen next.”

The fundraiser can be found on GoFundMe.

In the mindbending documentary “You Can See Everything,” comedian Nathan Fielder and professed inventor Elizabeth Holmes sit in her beach house staring at each other like gunslingers. Fielder is the creator of the TV series “The Rehearsal” and “Nathan for You” who constructs discombobulating sham realities that include bogus businesses such as Dumb Starbucks. Holmes is the former billionaire CEO of Theranos who pretended she’d built a revolutionary blood testing machine to squeeze investors for a few dollars more.

Each is an expert in the con. But Fielder is deadpan and cold where Holmes is earnest and warm — and he’s been nominated for Emmys while, in May of 2023 when the film begins, she’s about to serve an 11-year sentence in federal prison. As the camera cuts between close-ups of his narrowed eyes and her big, blue ones, Fielder tries to suss whether he can trust the famous fibber to be honest with him. The showdown is riveting.

“You’re being real right now?” Fielder asks, dubious.

Holmes beams. “I’m always being real,” she swears with a smile.

Her charm hits Fielder in the gut. His face stays neutral yet you can see his own confidence bleed out across the screen.

Co-directed by Fielder and Lance Oppenheim (“Primetime”), “You Can See Everything” is the closest Fielder has come to making a traditional documentary. A thrillingly cringe-tastic interviewer, he blurts out blunt questions like a bungee jumper leaping off a bridge, including asking Holmes’ romantic and business partner Billy Evans, the heir to a San Diego boutique hotel chain, whether it’s possible a woman convicted of fraud might be with him for his money.

At nearly three hours long, “You Can See Everything” won’t bore you for a minute. The hook is right there in the title, Fielder’s challenge to the audience: Here’s how Holmes held up to his scrutiny — do we think she’s telling the truth? But be alert. Fielder remains a trickster. One shot in particular proves you can see everything while being blind to what you’re actually watching.

In the first half of the movie, Holmes and Evans, the father of her two young children, give the small crew complete access to their lives during her last weeks of freedom, including inviting Fielder to sleep in their guest bedroom. It’s an act of “radical transparency,” Evans says. As evidence, there’s a fully nude shot of Evans in the shower, testifying to the intimacy the subjects claim they’re granting the team and the confidence they have that the documentary will make them look great. (Evans also boasts that he’s “excellent” in the sack.)

Holmes maintains both her innocence and her eerie smile, a rictus of empathy. She constantly nods, subliminally snake-charming the listener into a sense of agreement. That assessment might be fair or it might be her reputation making you over-analyze her tics. Doubling down, she even insists she’s never told a lie in her life — a claim that momentarily leaves Fielder at a loss for words.

Yet at times, Holmes really does appear to be sincere. Once she surrenders herself to the Bryan Federal Prison Camp in Texas (where, in an unmentioned coincidence, Epstein collaborator Ghislane Maxwell is also incarcerated), the tone shifts into film noir as Fielder struggles to reconcile Elizabeth Holmes’ dual identities. Is she the sweet-natured scientist, the only version of her he’s ever met, or a femme fatale who may still be running a scam?

“It’s personal,” Fielder says of his fixation. How frustrating that he of all people — the dark prince of pranks — may be Holmes’ latest patsy. Composer Ari Balouzian borrows bits of Bernard Herrmann’s violin score from “Vertigo” while cinematographer David Bolen makes the audience hold its breath by framing an image of Fielder and Holmes like they might kiss.

When the movie’s style gets weird, that’s when Fielder is most in his wheelhouse. Stop reading now if you want to preserve the surprise. Micro-analyzing his encounters with Holmes, he reenacts them with an actor, Amanda Seyfried, whose emotional intensity blows into the film like a gust of fresh air. Seyfried, of course, won an Emmy and a Golden Globe for playing Holmes in the 2022 miniseries “The Dropout.” The twists to come, however, feel as much like last year’s naughty hit “The Housemaid,” the domestic thriller in which Seyfried played a shady wife with a marriage made of lies.

Evans initially seems to think they’re participating in a project closer to Netflix’s glossy portrait of Meghan Markle and Prince Harry. The couple doesn’t know much about humor, pop culture or Fielder himself. Fumbling to figure out what makes him tick, Evans attempts to neg the provocateur as someone who lacks the passion to think differently. (Evans may also be the person who used Holmes’ social media account to write a flattering post calling JD Vance “Lisan al-Gaib,” revealing he’s entirely missed the point of “Dune.”)

But thinking differently is Fielder’s awkward superpower. Sooner or later, all of his projects circle around to his concern that he’s simply wired to be unpleasant. His interactions with Holmes are pure cringe comedy, like when she starts to cry perhaps a bit on cue and he stiffly sputters, “Do you want, like, a tissue?” For the record, he brings her one.

As a viewer, the biggest strike against Holmes is this documentary’s very existence. Whether or not you think she’s guilty of fraud, she is about to be separated from her infant and toddler until they’re in grade school. Who on Earth would genuinely want Fielder, the human equivalent of a skunk, to crash their last moments with their loved ones as he does his darnedest to stink up the place?

Fielder is most comfortable as the film’s villain, shooting himself lurking in the couple’s house like “Halloween’s” Michael Myers. At times, his presence does feel monstrous. In one scene, he needles Evans about whether he thinks his soulmate has ever lied to him while Holmes is on the phone in the next room, tearing up as she asks how often she’ll be able to bathe in prison.

The film doesn’t drill into the technical details of Theranos beyond one dizzying scene where Fielder tries to pin Holmes down on exactly what she meant when she said her machine can run hundreds of different tests. She means it just as I would if I bragged I can benchpress a beer keg — that is, once I strength-train beyond my piddly 5 lb dumbbells.

Instead, it tilts into becoming a caper flick as Seyfried’s commitment to understanding her character’s motivation inspires the actor to invite herself along. The drama they uncover is psychological, as befits an era where Silicon Valley CEOs are closer to cult leaders than engineers, making their cash from being televangelists for their IPOs. And both are attuned to the moments when Evans lets his aggravation slip. One scene is a doozy.

Ultimately, suspicion reigns. “You Can See Everything” is an absorbing study of public presentation and private doubts, a documentary that asks more questions than it answers. I hope Fielder will smile and nod approvingly at me if I say I left the film distrusting him, too, especially Seyfried’s re-staging of a long monologue Holmes delivered in prison where recording devices aren’t allowed. Can we believe that Holmes really did say, “I’m tired of having other people speak for me,” or was that laugh line written by the master manipulator himself? I’m now as paranoid as he is — and what a pleasure.

Nathan Fielder would rather you not read this article. At least not until you’ve seen his new movie.

He has a point.

Now in theaters, “You Can See Everything,” the nearly three-hour documentary Fielder co-directed with filmmaker Lance Oppenheim about convicted Theranos founder Elizabeth Holmes, is full of head-spinning twists and turns best left unspoiled, and the filmmakers have gone to extreme lengths to keep them that way. At its secret premiere at the Telluride Film Festival last month, audience members were required to lock their phones in pouches and warned that security guards with night-vision goggles would be watching for anyone trying to record the screening. Afterward, Fielder pleaded with the crowd to keep the film’s biggest surprises to themselves.

Holmes was convicted in 2022 of defrauding investors in her failed blood-testing company and sentenced to more than 11 years in federal prison. Fielder and Oppenheim began filming her and longtime partner Billy Evans, an MIT graduate and heir to a family-owned San Diego hotel business, shortly before she reported to prison in 2023, gaining extraordinary access to the couple and their two young children.

Holmes and Evans welcomed the cameras, hoping they would help vindicate her. But the closer Fielder and Oppenheim got to the couple, the harder it became to distinguish candor from calculated performance. Fielder, whose series “Nathan for You” and “The Rehearsal” put real people through elaborate, often uncomfortable experiments, began to wonder whether the tables had been turned.

“I really am struggling to this day to understand exactly what I experienced in this,” Fielder admitted during a post-screening Q&A at Telluride. “I don’t quite know what I went through.” He said he hoped audiences might help him make sense of the “glitchy feeling” it left in his head.

Having seen the film twice, we’re not entirely sure we can help him.

In deference to Fielder’s wishes, this is your last chance to turn back: Major spoilers follow. For those still with us, here are 10 of the film’s strangest moments — by no means the only ones — along with a few clues from Fielder himself about how they came to be.

Evans takes ’radical transparency’ too far

Evans has a theory about why the world sees his partner as a monster: Nobody really knows her. “In the absence of knowing somebody, it’s really easy to make them feel other and scary,” he tells the filmmakers. His proposed solution is “radical transparency” — a familiar Silicon Valley mantra with an ironic resonance given Theranos’ notorious culture of secrecy. The filmmakers are allowed virtually unlimited access to the family’s life, with Fielder even invited to move into their rented house in Del Mar, near San Diego. In one scene, Evans stands completely naked in the shower, brushing his teeth with the bathroom door wide open and the cameras rolling, as Fielder stands awkwardly nearby. At Telluride, Fielder, who had initially planned to stay behind the scenes, admitted he was still perplexed by the couple’s openness. “I’m a weird guy — why do they want me there?” he said. “That messed with my head a little bit.”

Fielder observes Holmes and her family in a scene from the documentary “You Can See Everything”

(A24)

Theranos, the sequel

A federal fraud conviction apparently hasn’t ended Holmes’ ambitions to revolutionize medical testing. Before heading to prison, she and Evans begin laying plans for a new venture involving lasers and artificial intelligence that Evans describes as “2.0” — a chance, he says, “to put the band back together and do it all again.” Holmes declares, “From wherever I am, I’m going to continue to work inventing, even if it’s inventing from a cage.”

Holmes claims she’s never told a lie

For someone convicted of defrauding investors, Holmes has a remarkably uncomplicated view of her own honesty. Asked by Fielder whether she’s ever told a lie in her life, she replies, “I don’t think so.” Pressed — surely she’s pretended to be sick to get out of a party? — she concedes she has, explaining that she thought he meant the criminal case against her. In a scene that became the centerpiece of the film’s teaser trailer, Holmes fixes Fielder with an unwavering stare. “Why would I deceive you?” she asks. “There’s no reason for me to do that.” When Fielder asks whether she’s being real with him, she doesn’t miss a beat: “I’m always being real.”

The Theranos device gets a second look

Holmes hauls out of storage the infamous Theranos device, the machine that helped bring down her company. “So this is the famous scam device,” Fielder says. “It is not a scam device,” Holmes replies. When she insists the machine can perform any medical test, Fielder finds himself drawn into an absurd debate over the meaning of the word “can.” Did she mean it could actually perform those tests, or that it theoretically would once the necessary chemistry had been developed? The man who has made a career out of baffling other people seems genuinely baffled himself, reduced to explaining the word “can” to the founder of Theranos.

Holmes and Evans enter federal court in 2022.

(Nic Coury / Associated Press)

Elizabeth Holmes meets Abbott and Costello

Still trying to make his point, Fielder turns to Abbott and Costello. He plays Holmes the classic “Who’s on First?” comedy routine — two people hopelessly talking past each other. Holmes watches politely and says she finds it funny. But she seems to have missed the central joke: The first baseman’s name is actually Who. “I didn’t pick it up,” she admits. Fielder’s attempts to explain the joke and why he showed it to her get him nowhere. Evans, watching the exchange, regards his wife’s difficulty following the joke as further evidence that her mind simply works differently from everyone else’s.

Fielder gives Holmes an escape kit

On the morning Holmes is due to report to prison, Fielder arrives with a parting gag gift: hair dye and glasses, in case she’d prefer to disguise herself and flee the country. Fielder is famous for excruciatingly awkward deadpan comedy, but Holmes’ parents are there, the family is preparing for an emotional goodbye and he seems to realize almost immediately that he has misjudged the situation. “I didn’t know your parents would be here,” he says, assuring everyone that it’s “just kind of like a joke.” The more he tries to explain himself, the more uncomfortable things become. “Maybe not appropriate for the moment,” he concedes.

Amanda Seyfried becomes a surprise co-star

Seyfried won an Emmy for playing Holmes in Hulu’s “The Dropout,” which Holmes had avoided watching for fear it would be too emotionally disturbing. Fielder persuades Holmes to watch it for the first time, on a laptop in the couple’s bed. She soon breaks down in tears and asks him to turn it off. Later, Fielder visits Seyfried at her apartment and shows her footage of Holmes watching her performance. So we watch Seyfried watch Holmes watch Seyfried playing Holmes as Fielder watches her. And things only get weirder from there.

At Telluride, Fielder said the filmmakers initially doubted Seyfried would want to participate. But after a brief phone call, she invited them over and agreed to be filmed. Neither side knew where things would lead. “It just actually evolved in that organic way, which was really exciting,” Fielder said.

Seyfried as Holmes in a scene from Hulu’s “The Dropout.”

( Beth Dubber / Hulu)

Seyfried plays detective

Seyfried soon finds herself reenacting Holmes’ conversations with Fielder as he tries to make sense of their encounters. She becomes so invested that she joins Fielder on a visit to Evans’ home, hoping she might get him to open up in ways Fielder can’t. “I feel like an undercover cop right now,” she says, clearly getting a rush. There, after meeting the couple’s children, she unexpectedly winds up on a prison phone call with Holmes herself. With only two minutes for the family to talk, Seyfried suddenly seems mortified to be intruding. “I’m so sorry — I don’t want to ruin your two minutes with your beautiful family,” she says. Fielder, naturally, has a camera running.

Evans takes control of the narrative

With Holmes behind bars, Evans seems determined to manage her public image himself. Armed with power of attorney, he takes over her verified X account, posting messages in her name, some of which sound nothing like the carefully controlled Holmes, including one telling another user to “f— off.” “There’s just so much trust that most things I don’t really consult her on,” Evans says at one point. “I know what she’d want.”

Evans’ attempts to steer the documentary itself begin even before Holmes reports to prison. In a meeting later reenacted in the film, after Holmes leaves the room, he raises the subject of money with Fielder, Oppenheim and executives from A24, the studio behind the film, demanding a share of the profits. Fielder says A24 reluctantly agreed, leaving him worried that the integrity of the project may have been compromised. When Holmes later insists she has no financial interest in the film, Fielder is taken aback. Either she’s “fully sincere,” he tells Seyfried, or “she honestly might be the most manipulative person that’s ever lived.” (The film notes at the end that Evans later changed his mind and decided not to accept payment.)

On Oct. 5, Holmes’ X account promoted the documentary with a tantalizing warning: “I really don’t think you are ready for this doc.” Whether that was Holmes speaking or Evans speaking for her is anyone’s guess.

Seyfried confronts Evans

Things turn ugly during that same visit to Evans’ home. A conversation about conjugal visits and Evans’ sex life gives way to a heated argument over his use of Holmes’ X account. Evans brings up the social media backlash Seyfried faced for criticizing Charlie Kirk after his shooting death, then attacks her portrayal of his partner in “The Dropout.” Soon he’s threatening vengeance against people he believes have wronged Holmes. “I’m going to ruin their lives,” he declares. Asked whose lives he means, Evans replies, “F—ing everyone. I’ve got vengeance in my heart.”

Later, away from Evans, Seyfried offers her own assessment: “He is bat— crazy.”

What is pornography? We tend to think of it monolithically, as something created by and for hetero men, reinforcing sexist stereotypes and machismo behavioral codes. For over 20 years, Erika Lust has been fighting against those preconceptions, creating adult content that expands the parameters of pornography while approaching it as something akin to mainstream independent cinema. Her subscription-only website features content that leaps over gender boundaries, and has pulled in fans around the globe.

In her new book “Lust,” the filmmaker makes a convincing case for an ethical, intelligent porn that can expand our ideas about sex and intimacy. I recently chatted with Lust about sex, power and the internet.

✍️ Author Chat

Are we calling it pornography? Adult content? What do you call it?

For me, it is pornography. What I do is pornography because I work with explicit images, but I also work with cinema, and I strive for cinematic vision and craft. I don’t just pick up a camera, film people having sex and put it online. It is a whole creative process. So when I talk about my work, I see myself first as a filmmaker whose subject matter happens to be pornography.

What compelled you to create adult content?

I was born in Sweden, and I became a feminist quite young. I studied political science in college. When I was exploring my sexuality in my late teens and early twenties, I became more and more interested in finding out about our desires and who we are and what we are attracted to. And then I started to watch porn [and] felt horrible watching it. I felt a little bit troubled by the images. Why are all these female characters just there to please the man? It wasn’t about the women, it wasn’t their stories, and that made me feel a bit angry. When I talked to other women about this, they felt the same way. I felt there was something to explore there. Of course at the time, I had no idea I would be doing this for a living.

There are a lot of tired tropes about adult content that you debunk in your book. That the performers come from broken homes and are forced to do things on camera without their consent and so on.

It’s so easy for people to think that in the sex industry there’s going to be exploitation. But my experience is the opposite. Because people I work with dare to talk about sex. The conversation is over the table, not under the table. The people I have met and worked with in this business are intelligent and smart, with a very clear plan of their future. They take care of themselves, their bodies and their sexuality.

In “Lust,” Erika Lust debunks tropes and stereotypes surrounding the production of pornography.

(Jahel Guerra)

How has technology affected how we think about sex?

There’s a lot of sex anxiety going on in our society, and I think that also has a lot to do with technology and how it has taken over our lives. And I’m reading more articles about the intimacy crisis, and the fear that people have of connecting with other people, and young people who are not having sex. Technology has gone wild. It has taken over our lives. People are afraid of other people, of friction, of negotiating boundaries. They don’t know how to explain their own desires so they would rather talk to robots. I think we need to disconnect from technology, and think more deeply and talk to each other — not just about sex, but about everything.

Given the ubiquity of free adult content on the web, how do you compel customers to subscribe to your site?

I think people that subscribe are looking for something completely different, something more elevated, and they understand that that kind of film costs money. I can’t shoot without paying my crew and my staff. Shooting with an Alexa camera is not the same thing as picking up my mobile phone. And then I need crew members who can work with that technology, I need gaffers and electricians, I need to pre-light the set the day before, and so on. The budgets that I’m working with are really budgets for independent films. We have a staff of 45 working with me and my husband.

It’s the last artistic underground, really. I did notice that Bruce LaBruce, a filmmaker whom you mention in your book, has a collection of his films presently being shown on Criterion Channel.

I never think it’s going to become mainstream. My true hope is that we can at least be known as an independent porn culture making quality films that aren’t exploitative. That people understand that it exists, and that it’s an option apart from the mainstream porn websites.

This Q&A was edited for length and clarity.

📰 The Week(s) in Books

Chuck Lorre has written a memoir, “Sitcom,” about his career

(Christopher Patey / For The Times)

How does Bonnie Garmus follow her blockbuster 2022 novel “Lessons in Chemistry”? With “Peck & Peck,” a “whimsical and winning ode to the written word, and send-up of the pretensions of its gatekeepers,” writes Leigh Haber.

Chuck Lorre, one of the most successful and prolific writers and producers in TV history, has written “Sitcom,” a memoir in which he reveals, among other things, his decade-long tenure as a card-carrying Scientologist. Writing the book “was cathartic,” he tells Mary McNamara. “There’s a little bit of therapy going on in this book. I got to say some things out loud that in the past I would have kept hidden because they were embarrassing.”

At a time when it seems like anger and hostility has become the fossil fuel of everyday life, author and conflict expert Priya Parker’s new book “The Art of Fighting” argues for civil and spirited debate as a balm for our troubled times. “As a conflict resolution facilitator for the last 25 years, I can say that healthy community needs healthy conflict,” Parker tells Margaret Wappler.

Finally, Maddie Connors talked to Michael Douglas about his new memoir, “One Helluva Ride,” a book about his life and career. “Your 80s may be a good time to share,” the 82-year-old actor tells Connors. “People interested in movies, we give them a certain insight into the process, and maybe they could learn something. For others, it’s just gossip.”

📖 Bookstore Faves

Formerly a pop-up bookstand, Reverie Bookstand is a brick-and-mortar bookstore on Sunset Boulevard in Echo Park.

(Reverie Bookstand)

Located on a busy stretch of Sunset Boulevard in Echo Park, Reverie Bookstand is doing its level best to buck the AI tsunami, selling used books created by humans in a variety of subjects. In an email exchange, owner Tim Horner tells us what’s selling in his store.

What prompted you to open the store?

I was driving by and I saw it was for lease. I had been selling books for some years as a scout for other bookstores, and also at flea markets where I would pop up with a ”bookstand.” So it wasn’t a brand new idea; I had always dreamt of it. The owner of the building was a part of a small team that ran a collective DIY venue and gallery called Echo Curio around 12 years ago. It has since shut down, but Echo Curio was a place I came to as a young person back in the day. So the landlord was sympathetic to the cause and the idea of having a bookstore here. So I went for it.

What genres does the store tend to emphasize?

I specialize in poetry, mysticism, occult and out-of-print secondhand books and paper goods. All the books here in the store are used books. So far it hasn’t been difficult to keep the shelves full, I know some spots.

Who are you customers?

The clientele here is diverse. Students, working-class people, artists, local neighborhood families, musicians and people from all walks of life who simply love books and reading. A thing I am grateful for is how kindhearted and empathetic (most) book people are. It gives me a lot of strength and motivation everyday to know that my book-buying addiction is not in vain but is actually going to some strange use in helping connect people with literature.

What’s selling right now?

The things that are selling the most are things California-related and writers from California especially — Joan Didion, John Steinbeck, Octavia Butler.

Why do we still need bookstores when AI can write books for us?

I think bookstores are relevant still because we all need some type of human connection for our well-being, and books encourage that behavior. Whether it’s connecting with a space and people or connecting with authors, a bookstore is a place where you can actually browse for something and be in the moment with other people that are possibly interesting. The gesture alone validates itself in that you’re telling the world. I am open to ideas, things, places, people, and along the way you find a book you didn’t know existed, a nicer copy of something you already have, or a book you’ve been meaning to read but had forgotten about. And until this point there is no tangible way to browse for these things I have online yet and hopefully ever.

Reverie Bookstand is located at 1519 Sunset Blvd., Los Angeles.

Five days. That’s how long President Trump’s latest press secretary, Katie Zacharia, lasted before she was fired Friday.

Her stint, which was about as long as the recommended shelf life for an open can of beans (if refrigerated), broke the previous record set by Anthony Scaramucci.

During Trump’s first term, Scaramucci lasted 11 days as White House communications director — the suggested length of time before a sealed pack of hot dogs expires.

Their minuscule tenures represent an impressive race to the bottom in a once-prestigious role that was created just under a century ago, during the Great Depression.

The press secretary typically stuck in the job for years or entire terms, rather than days or weeks. For reference, Scaramucci’s dizzying 2017 arrival and departure broke a 72-year-old record.

Jonathan Daniels served just 19 days (recommended expiration time for a tub of sour cream) in 1945. He at least had a valid excuse for his short run: President Franklin D. Roosevelt died.

Trump told reporters Friday that Zacharia might continue to work for him “in some form, but maybe a more pleasant form.”

He sowed further confusion when he recounted his conversation with Zacharia, claiming that he told her, “Honestly, if I were you, I’d reconsider” and asked her, “Katie, do you need this? I don’t think you need this.”

With verbal chops like those, who needs an articulate press secretary? Apparently not Trump, judging by his appointment of someone whose debut was anything but professional.

Let’s take a trip down memory lane and recall her first day on the job. It was Monday.

Zacharia appeared wholly unprepared when she took the lectern to address the press corps. She looked down and read nervously from a script, took just three questions and embarrassingly mixed up references to “her husband” and “her president.” She abruptly exited the briefing after just 11 minutes.

Zacharia previously worked as a conservative commentator and senior communications advisor for Trump Media & Technology Group (Truth Social). She monitored the president’s social media posts to discern what was of importance to him, then would go on air to talk about those topics. In essence, she was a press secretary, just not in the White House.

She told the conservative outlet Human Events on Thursday that she had been aiming for a job within the administration, frequently appearing as an expert voice on conservative platforms such as Fox News.

“My philosophy is, I’m on TV enough where if he sees me and he likes me, then I will be recruited for the job,” she said. “I do not believe that lobbying for that job would have been successful, and I wanted to work for it. I wanted to audition for it.”

She succeeded Karoline Leavitt, who served quite a long time — 19 months — before leaving to “spend more time with my family,” then immediately signed on with Fox News as an on-air contributor.

The revolving door of Trump administration press secretaries has at least been entertaining. Most stayed on significantly longer than Zacharia (the bar is low, after all), and at least a few managed to leave a lasting impression.

Sean Spicer kicked off the parade in 2017, scolding journalists his first day on the job when defending the size of Trump’s inauguration crowd. It was record-breaking, he claimed. It was not.

Spicer became the inspiration for one of the best recurring “SNL” sketches ever when Melissa McCarthy transformed into him, embodying the new administration’s disdain toward the press: “I’m not here to be your buddy!” she screamed at befuddled reporters.

McCarthy’s “Spicy” is hard to beat, but a Zacharia parody could come in a close second should it end up as the premise for “SNL’s” cold open this weekend.

When Trump announced her appointment last week in a social media post, he referred to her as “an attorney.” She referred to herself as a lawyer.

But when a reporter asked Trump on Monday where she had passed her bar exam, the president threw the question to Zacharia, who was standing behind him on the South Lawn. She stepped up to the mic and answered, “When I moved to China.”

By Wednesday, reporting surfaced that Zacharia sat for the California bar exam after graduating from Pepperdine University’s law school in 2011, but did not pass. In China, she worked in international transaction law, which didn’t require admission to a state bar.

If history is any indicator, whoever replaces Zacharia as Trump’s press secretary should have a go bag packed and stashed directly behind the lectern.

The once-respected position has been degraded by six years of poor decisions and a volatile president who prefers to communicate with the electorate at 3 a.m. in ALL CAPS via his own social media platform.

Here’s to the next White House press secretary. May you outlast the shelf life of a carton of milk.

A beloved Coronation Street star has candidly opened up about their struggle with alcohol

A Coronation Street actor has opened up about their alcoholism, and revealed that soap bosses sent them to rehab.

Kevin Kennedy joined the ITV soap in 1983 as Curly Watts, renowned for his hapless romantic endeavours and succession of peculiar employment roles. Throughout his tenure on the enduring show, he featured in numerous major storylines.

From his passion for astronomy to his turbulent love life, his years in Weatherfield were packed with drama. Nevertheless, he was last spotted in 2003 when he departed alongside wife Emma (Angela Lonsdale) for a fresh start in Newcastle.

Following his departure, Kevin has remained active, featuring in programmes including BBC’s Doctors, Mrs Browns’ Boys and Holby City.

And on Wednesday (October 14), he turned up on Good Morning Britain to discuss his latest musical, The Picture of Dorian Gray. Kevin also opened up about his battle with alcoholism, disclosing that he has remained sober for 28 years.

He said: “Well, ITV and Coronation Street, effectively saved my life, sending me into rehab. And I was very, very, I still am very grateful for that. You know, I was in there 4 weeks and came out slightly different.”

When questioned about whether his addiction had been impacting his work on the soap opera, he revealed: “Well, that’s the thing about addicts. They’re very resourceful, intelligent people. They have to be. This is why for the charity [Kennedy Street Foundation] that we do, we promote visual recovery.”

Regarding what guidance he would offer those concerned that alcohol or drugs may be becoming an issue, Kevin said: “Well, the rule of thumb with alcohol or any drug or addiction is if it’s costing you more than money, then maybe it’s time to look at it.

“What I would say to you is, we do recover. We do recover. It’s not all doom and gloom. It’s going to take a lot of hard work and a lot of commitment, and you have to go to various health centres; there’s enough out there.

“And if you do, as you’re told, and if you do, as is suggested, then you will recover. I can guarantee you if you put down that drink and that drug, do what’s suggested, your life will get better.”

While on GMB, Kevin spoke fondly about his time on Corrie, saying: “Oh, I mean, all of it is my favourite, actually. I’m very proud of that body of work, yeah, poor boy [Curly], he went through it!”

Kevin continued: “Even now when people come up and they do and they say, ‘oh, I remember when you did that’. I think that’s really humbling experience and I really love it. So it’s great.”

Good Morning Britain airs Monday to Friday at 6am on ITV1.

LONDON — It’s the day after the London premiere of “Sense and Sensibility,” and its stars, Daisy Edgar-Jones and Esmé Creed-Miles, have shed the glamour of the evening before. Both are curled in chairs in an otherwise empty room in an upscale Hyde Park Corner hotel, modestly dressed in jeans, sneakers and casual tops. Each drinks from an enormous glass bottle of water rather than wasting time with a cup.

The spectacle of a blockbuster red carpet is familiar for Edgar-Jones, whose career took off after the 2020 limited series “Normal People” and has since included “Where the Crawdads Sing” and “Twisters.” But last night marked the biggest such occasion so far for Creed-Miles, best known for the Prime series “Hanna.”

“I was a bit nervous with my friends and family all there,” admits Creed-Miles, who plays the more emotional of Jane Austen’s Dashwood sisters, Marianne. “I’m very lucky because Daisy has done it before and she’s so cool about it.”

“Absolutely not,” says Edgar-Jones, who plays the sensible Elinor. She grins sheepishly. “If anything, I think I’m getting more nervous.”

Both actors understood the high stakes of remaking Austen’s 1811 debut novel, most famously adapted in 1995 by screenwriter and star Emma Thompson and director Ang Lee — a movie that became a generational touchstone nominated for seven Oscars. The new version, in theaters Friday, was adapted by Diana Reid and directed by Georgia Oakley, best known for her evocative 2022 feature debut, “Blue Jean.”

Oakley wanted to re-create the emotions of reading the book as a teenager.

“In comparison to other Austen novels, I remember it feeling quite wild,” Oakley says, speaking separately over Zoom. “I also wanted to capture the spirit of the two older sisters as the beating heart of the story. My memory of it was that their story was the main love story of the book.”

Daisy Edgar-Jones, left, as Elinor and Esmé Creed-Miles as Marianne in a new version of “Sense and Sensibility.”

(Focus Features)

Oakley’s “Sense and Sensibility” emphasizes that relationship between Elinor and Marianne. Although they approach the world differently, they find common ground in each other. It was essential to find the right actor for each role, but also to ensure there was both tension and chemistry between them. Edgar-Jones, 28, was cast first without an audition. There was never any question as to which sister she would play.

“I have played a significant Marianne before,” Edgar-Jones says in a nod to affluent, tortured outcast Marianne Sheridan, her role in “Normal People.” “And I love both characters, but I’m moving into my late 20s now. Elinor has a maturity and a wise older soul quality that I really liked and felt I was right to occupy. I have always been attracted to characters who don’t necessarily have the words to express how they feel.”

Oakley appreciated Edgar-Jones’ restraint. “She is able to show so much by seemingly doing very little,” Oakley says. “Elinor has a lot on her shoulders, so I was looking for an actor who could give a sense of that from the very beginning.”

Creed-Miles, 26, faced a more uphill climb to become Marianne. She describes her first audition as awful.

“It was really bad,” she says. “Maybe I was nervous. I can be a bit of a mess. But someone saw something in me, I guess, and they called me back. This time I worked my ass off and spent days preparing the scenes. They liked that audition enough to bring me in for chemistry reads with Daisy and some of the boys.”

“There’s an earthy, undone nature to the world Georgia made,” Edgar-Jones says of director Oakley’s take on Austen.

(Erik Carter / For The Times)

“The first audition didn’t go exactly to plan,” says Oakley, who didn’t expect to see the actor again. “But [the second time] I was so moved by Esmé performance. We have this idea of how we think people are supposed to speak in a period drama, and Esmé seemed to not be affected by any of that.”

Edgar-Jones and Creed-Miles had previously worked together on the 2018 drama “Pond Life,” which was an asset going into “Sense and Sensibility.”

“It’s a summer I have never forgotten,” Edgar-Jones says of the experience, her first film role. “I met Esmé and we fell in love. We watched a lot of ‘Love Island.’ And then COVID happened and we weren’t reunited until our chemistry read.”

Although they hadn’t completely stayed in touch, there was a natural rhythm between them. “We had so much history and nothing was ever overly discussed,” Edgar-Jones adds. “It was instinctual. That level of intimacy takes time to develop and the fact that I already had years with Esmé meant that it felt very lived in.”

“Sense and Sensibility” was filmed entirely on location around England, primarily in the sweeping countrysides and dramatic coasts of Devon and Dorset. Oakley wanted to emphasize nature and to show how the Dashwood women’s emotional landscapes evolved alongside the shifting landscapes around them, both in the countryside at Barton Cottage and in the more confining social landscape of London. There is a naturalistic aesthetic to the film, augmented by the locations, the costumes and the hair and makeup design. The characters wear muted, sweeping gowns, their hair often loose.

“There’s an earthy, undone nature to the world Georgia made,” Edgar-Jones says. “Sometimes there’s distance you can sometimes get from watching a period drama because obviously we no longer wear corsets and bonnets and ride in horse-drawn carriages. But even though this feels very much of the Regency time, it also feels very close.”

“I loved how authentic everything felt,” Creed-Miles adds. “It didn’t feel frilly for the sake of itself. The clothes helped me find a sense of Marianne. I needed the costumes to close that gap.”

“We wore no makeup, even to the point where sometimes I’d put on some lip balm and Georgia would be like, ‘Take it off,’ ” Edgar-Jones recalls.

“The characters started to feel like real people in my life who I knew,” says Creed-Miles. “It was almost like a split personality.”

(Erik Carter / For The Times)

Creed-Miles says the unbuttoned aesthetic felt more true to the time, even if some commenters online have claimed it’s not period accurate.

“We don’t have depictions of women’s internal lives in the way that we do now,” she says. “When you look at a portrait there’s a composure that’s not the same as having a phone picture of someone when they’re getting out of bed in the morning.”

Oakley fills the screen with a palpable yearning. The camera often lingers over the actors’ faces, revealing Elinor’s inner turmoil and Marianne’s dramatic heartbreak. For many scenes, Oakley asked the cast to do silent takes.

“We wanted to tell a story that had space for some quieter moments,” the director says. “The actors were free to speak or make noises, but they couldn’t say the words of the scene.”

“In making this, I realized Elinor isn’t devoid of emotion,” Edgar-Jones says. “She’s full of it, but she’s learned how to govern it. Realizing that she was an extraordinarily passionate person and not a stone was really important for me. By the end, I felt completely marinated in it.”

“The characters started to feel like real people in my life who I knew,” Creed-Miles agrees. “It was almost like a split personality.”

“Circumstances have changed for young women quite drastically over the past 200 years,” director Oakley says. “But the fundamental contradictions around what it means to be a young woman haven’t changed nearly as much as we would like to think.”

(Erik Carter / For The Times)

Oakley’s interpretation of “Sense and Sensibility” has a wistful, almost Brontë-like quality. You can feel each character’s pain and joy and hopefulness. At the premiere, the audience audibly gasped and cheered, even though Austen’s story is well known to many. Oakley didn’t want to make her film overly contemporary, but she feels the story resonates today because Austen is so timeless.

“Circumstances have changed for young women quite drastically over the past 200 years,” Oakley says. “But the fundamental contradictions around what it means to be a young woman haven’t changed nearly as much as we would like to think. There’s this enormous gap between what we tell young women that they can reasonably expect from their lives and what the world is prepared to offer them.”

Creed-Miles admits that she’s recently fought with someone on Instagram about whether Austen was a feminist.“They didn’t have that terminology back then, but she was a rebellious author in that she used these sociocultural structures to explore the trials and tribulations of femininity,” Creed-Miles says. “It was really important to Georgia that we kept that alive. Reading Austin as an adult, I have so much respect and admiration for the themes she was exploring with a really deft hand. It’s never rammed down your throat.”

Edgar-Jones, an Austen fan, agrees that she captured a truth about the human experience. That’s what allows the author’s work to be retold and reimagined over decades.

“The joy of adaptation is that every new person who says these words will bring a piece of themselves and give it new meaning,” Edgar-Jones says. “And every time we explore something again, it will be colored with the context of today. Great art, like this, should be brought to life again and again.”

MANY parents usually spend years saving up for family holidays abroad.

But one savvy couple has managed to swap life in the UK for a full-time travel adventure – all while saving £36,000.

Back in 2023, Ruth and Steven Rowe made a decision which shocked a lot of people after “selling everything they owned” and buying a one-way ticket to Sri Lanka.

They have been globe-trotting ever since on a budget of just £30 a day, and have turned the world into a classroom for their two children Aurora, five, and Atlas, four.

Ruth, 35, and Steven, 36, said they had always dreamed of travelling full-time and, as the moment approached to put the children into a nursery, they felt the time was right.

Ruth said: “We knew those early years were precious and we wanted more time together as a family before school routines took over.”

They flogged all their belongings on Facebook Marketplace or via car boot sales and set off from the village of Eardisley, Herefordshire, with just two suitcases of clothes and a few toys.

The family has already been to 17 different countries, ticking off bucket-list destinations such as Costa Rica, Guatemala, Ecuador, and Indonesia.

They stay four weeks at a time in Airbnbs and have also visited the likes of Thailand, Malaysia, Cyprus, the USA, Colombia, and Peru – all while saving around £12,000 a year.

They currently have no plans to return and want to continue world-schooling in exotic locations – while spending around £2,000 a month, compared to £3,000 back in the UK, as a result of their rent and outgoings being less.

Ruth and Steven had been renting a barn conversion and had both children during the Covid-19 pandemic.

They had travelled extensively before having kids but couldn’t shake the feeling that there was still so much of the world they wanted the children to experience.

Ruth added: “We wanted more time with them as we know those early years are precious, so we thought, why not just do it? So we did.

“Selling everything was an exhilarating experience.

“Our car, furniture and most of our possessions all went through Facebook Marketplace and car boot sales.

“We kept only a handful of memory boxes filled with special items from the children’s early years and a few clothes.

“We set off at the start with two big suitcases, a medium and a small one – and a stroller.

“And since then we’ve downsized to just two suitcases – it is really surprising how little you really need.

“Possessions don’t make you happy, life experiences do.”

They arrived in Sri Lanka with no return ticket and no real plan beyond seeing where life took them.

Ruth added: “And we’re still travelling now. We’ve been travelling full-time ever since, slow-exploring the world as a family, while my husband runs his coaching business remotely and we embrace world-schooling on the road.

“It’s been beautiful, chaotic, challenging and incredibly freeing.”

The couple also support themselves financially via Steven’s online coaching business – which he can still run wherever they are in the world.

However, Steven revealed the lifestyle isn’t always glamorous.

He added: “We use Airbnbs mainly but I’ve been working out of little cupboards in some places – it has been challenging at times but we’re in a fortunate position.

“We aim to live off around £30 a day and we stay in places for a month at a time so I can work Monday to Friday.

“But it can vary greatly; a two-bed apartment in one country can be £800 but a smaller one in another country £1,300.”

The couple say their children are now educated through “life experiences” – be it picking up Spanish in Latin America or learning about volcanoes while hiking in Peru.

And they say giving the kids no screen time whatsoever on their travels has helped them to become more patient and creative.

Ruth added: “They are also learning counting through things like paying a tuk-tuk driver in different currencies and the first time Aurora ever wrote her name it was in sand on a beach with a stick.

“We give them no screen time at all – which I think has taught them patience on their travels and to be more creative when they are bored sitting on a bus.

“They thought the TV back home was a radio as we’d only use it for Spotify and we think that’s allowed their imagination to flourish.

“I have just seen their confidence grow so much, and of course there’s no way of really telling how they would have been at home, but they are just so open and talk to anyone – young and old.

“I will sit down and teach them some reading and phonics and writing – but we’re not rigid with it and it’s still very much about learning through playing.

“It wasn’t a case of we hated the UK – we just love the world. But I was never a fan of the cold and rain so that is something I don’t miss.

“Also, we’ve found children aren’t treated like nuisances like you find in some restaurants in the UK.

“They are welcomed in and looked after, lots of places have playgrounds too to keep them entertained; that was a big difference to the UK too.

“Sri Lanka is just the most welcoming place we’ve ever been – people would invite us to eat in their homes and absolutely loved the kids.

“Costa Rica is beautiful with all the wildlife and jungle, Guatemala is underrated – it is also an incredible place and one of our favourites.”

Ruth was also not a fan of the cold and wet British weather – but admits she misses British chocolate.

She added: “The only thing I miss is friends and family – and also British chocolate.”

Steven also believes the lifestyle has been transformational for the children.

He said: “These positive environments have brought such positive developments so far in our children. Atlas was swimming independently at two.

“This way they get one-to-one without being part of the larger school system, which we have no issue with, we just see the benefits from doing it this way.

“We make sure the children are at the centre of what we do, we always research kids’ clubs and activities wherever we stay.

“They are loving learning about all the wildlife too – we had iguanas and sloths outside our doors in Costa Rica.

“Aurora had surf lessons in Bali and will be sandboarding in the Peruvian desert; it’s magical for them.

“The children have most enjoyed all the swimming they’ve been able to do and all the wildlife has been a massive enjoyment for them too.”

Follow the couple’s travels on Instagram.

Once brimming with life, the Dodgers’ historic quest has curled up into a withered heap.

The three-peat is dying.

The three-peat is slowly, agonizingly having the life squeezed out of it by a collection of hardscrabble Midwesterners with no regard for stardom or status.

Two games into the National League Championship Series, the three-peat was formally placed on life support Monday after the mighty Dodgers lost a second consecutive game to those little giants known as Milwaukee Brewers.

Shohei Ohtani strikes out during the sixth inning

(Robert Gauthier/Los Angeles Times)

This time the score was 7-4 after another devastating night at American Family Field, and now the Dodgers trail two games to none in a best-of-seven series that appears beyond their control.

For a second consecutive game, their ace was knocked out. For a second consecutive game, their powerful offense petered out.

For a second consecutive game, they looked like a weary, aging band of fallen stars that had stumbled into a surprisingly deep pothole and had no idea how to climb out.

For the Dodgers to win this series and continue their journey toward a third consecutive championship, they must beat the Brewers in four of the next five games, the last two of which would be played in Milwaukee.

It doesn’t seem likely. It doesn’t even seem possible.

Not once in in their previous two title seasons did they trail anybody two games to none, and they certainly don’t seem equipped to survive it now.

Look at how they lost Monday. On second thought, don’t look, because what you’ll see bears scant resemblance to the swaggering, self-assured Dodgers of postseasons past.

They pitched their October ace Yoshinobu Yamamoto, and he’s always saved them, right? Not this time. He couldn’t make it out of the third inning, battered by scattered wildness and scathing swings.

They were handed runs on two errors by the Brewers’ shaky rookie starter, Logan Henderson, and they’ve always capitalized, right? Not this time. They couldn’t make the Brewers pay for their clumsiness, managing just three hits, the slumps of their superstars ever deepening, Will Smith and Shohei Ohtani becoming absolute offensive liabilities.

Even with all this, they sent Henderson packing after four innings and took aim at a heavily used Brewers bullpen and surely they could summon the firepower to send at least one of those relievers running, right? Not this time, as four Brewers relievers set a postseason record by pitching five perfect innings.

The last two innings being a sad microcosm of the previous seven.

Entering the eighth inning, the Dodgers trailed only 4-3 and had the top of their order coming up in what still could have been a trademark Dodgers October comeback.

Mookie Betts strikes out in the eighth inning.

(Robert Gauthier/Los Angeles Times)

Not so fast.

Facing Abner Uribe, Mookie Betts struck out. Facing Aaron Ashby, Freddie Freeman struck out and Teoscar Hernández grounded out. Yeah, with perhaps their season on the line, they couldn’t even get the ball out of the infield.

The Brewers, of course, sealed the deal with two runs on three singles in the bottom of the eighth, and the Dodgers went meekly 1-2-3 in the ninth.

It was surely, truly painful for Dodgers fans to witness the final out, a strikeout by … yep, last season’s World Series hero Miguel Rojas.

The three-peat is dying, and it’s almost unbearable to watch.

Having both of their aces beaten in Milwaukee, the Dodgers will come home with Blake Snell and Tyler Glasnow starting in Games 3 and 4, respectively.

In any other scenario, both pitchers are aces as well, and the Dodgers would have a huge advantage. But neither pitcher has looked great in the postseason, and both will be pitching while bearing the weight of a stressed-out Dodgers Nation.

“Yeah, it’s certainly a challenge,” manager Dave Roberts said. “I think that if you look at Game 3, I like where we’re at as far as in a vacuum, who’s pitching, where our bullpen is at, being at home. Then you’ve got to go from there.”

Perhaps the most frustrating thing about Game 2 is that the Dodgers led … then blew the lead … then led … then blew the lead … then led …then blew the lead.

The Brewers’ final tying blow came on William Contreras’ fifth-inning homer against Kris Bubic, who has struggled in this postseason and perhaps shouldn’t have been in the game. The Brewers’ final go-ahead run came in the sixth on Contreras’ bases-loaded single after Brice Turang surprisingly was intentionally walked in front of him.

But neither of those plate appearances was the game’s most important. The key moment that actually didn’t score any runs was Jake Bauers’ 12-pitch walk in the third inning.

That loaded the bases, and Christian Yelich then greeted an exhausted Yamamoto with a two-run single.

“Yeah, it just got to a certain point where it was straight compete mode, a little bit of like blackout, just kind of in the flow a little bit competing,” Bauers said. “It was fun. It was a fun at-bat. I knew that was a moment where the guys needed something, the team needed something.”

Funny, but those are the kind of things Dodgers hitters used to say, back when they were confident and full of life.

But Smith is one for 23, and Ohtani is three for 19, and the Dodgers have just one extra-base hit against the Brewers, and nobody is saying anything about the fun of competing.

In fact, things are so lousy, Roberts appeared to call out Smith for not using the ABS challenge in the early innings against Turang. Both times strikes were called balls, and Turang took advantage of the missed calls to double and walk and score twice.

Yamamoto also seemed annoyed that his catcher could be letting his batting woes affect his work behind the plate.

“Obviously in that spot, Will didn’t feel like it was a strike, but obviously if you look back, that’s a called third strike, he doesn’t double, and that changes the outing,” Roberts said of Turang’s first-inning at-bat.

Roberts still has hope. But he’s not looking past Game 3.

“As far as can we do it, absolutely, but it’s just you want to get that first one,” he said.

Dodger Stadium will be filled with fans in what could be a celebration. Or a wake.

Oct. 12, 2026 6 AM PT

One word that could describe Aria Vega’s whirlwind 2026? Chévere.

The Colombian expression for “awesome” is also the name of the fast-rising star’s global smash hit. Released in January, the breezy tropical swing of “Chévere” — and the rest of her sun-kissed singles — embodies the spirit of Colombia’s Caribbean coast where she hails from.

Ahead of the Latin Grammys on Nov. 12, where Vega will be in the running for the best new artist award, Vega is taking what she calls her “Costeñita Core” pop movement on the road, with her first-ever U.S. tour.

“Looking back at all the dreams I’ve accomplished and made come true, it’s all blessings,” a wide-grinning Vega says over Zoom from Miami.

“I’ve been crying tears of joy with my family, my friends and my combo chévere, as I like to call my fandom. Every artist wishes and dreams of a Latin Grammy, and for me, just to be one of the nominees is like, ‘Yo, I’m a winner!’”

Vega was born Mariana Padilla Pérez in Barranquilla, where she lived the lifestyle of the costeños — or the people of Colombia’s Caribbean coastal region. She has been steadily chasing her dreams of superstardom since competing on “Idol Colombia” in 2014; but Vega finally started making waves last year when she integrated more costeño culture, rhythms and slang into her mellowed, Spanglish pop flow.

“Chévere” exploded in popularity after fellow Colombian singer Ryan Castro jumped on the remix in February. Since then, Vega has pushed “Costeñita Core” further into the mainstream with songs like the alluring “Cule Poco (Sirena_Besarico_Costeña),” and the sultry “Compa Coleto (Uy_Como),” offering unhurried takes on champeta and other Afro-Caribbean rhythms.

Vega just kicked off her U.S. Cariavales Tour, which includes a stop at the Roxy in Los Angeles on Oct. 13. Just a week before, she was handpicked by her pop foremother and icon from Barranquilla — Shakira — to perform as part of her 12-show residency in Madrid.

In an interview with The Times, Aria Vega opened up about her Latin Grammy nomination, representing costeños and getting a co-sign from Shakira.

How did the success of the song “Chévere” change your life?
I didn’t expect to be on [so many] airplanes and flights. Right now, I’m starting to feel the weight of that. I’ve seen what it’s like to live on the road. The remix happened after Ryan [Castro] sent me a DM on Instagram saying, “‘Chévere’ is a banger!’” I was really excited to even get that message from him, because I’m a fan of his music. That was a really cool moment.

What can you tell us about your upcoming debut album?
It’s Afro-Caribbean-inspired music. Right now, the album is really long. I have recorded more than 30 songs for it. I’m working on cutting it down to hopefully 15 songs that will touch your heart and soul … I want to make people vibe with my songs, feel cool, and feel chévere. That’s my goal with this album [I call] “Costeñita Core.”

What does “Costeñita Core” mean to you?
It’s an energy that you either vibe with or you don’t. It’s like our food, our slang and experimental fashion. Caribbean maximalism and shifting [mainstream] culture. Overall, it’s about making bold choices and being rebellious.

How do you feel about representing costeño culture through your music and visuals?
It’s a big responsibility. I feel really happy and excited when I see comments that say things like, “It’s an honor for you to represent us, and we love what you’re doing.” I get emotional because I don’t always get that response … There’s also people that say, “I feel that I’m not represented by her in any way.” It’s a mixture of feelings. What can I say? I’m doing this with a lot of love for Barranquilla, Colombia and Colombia’s Caribbean coast. I want to be a voice of the Caribbean coast.

What did it mean for you when Shakira selected you to perform for her residency in Madrid?
As soon as my team told me about this opportunity with Shakira, I was going crazy because she’s so inspiring. She’s also from Barranquilla. Her music has been a part of [my] life. It has been like a companion for me. Since I was like 5 years old, there’s always been a Shakira song that I was vibing with. I’m really excited even about the possibility of meeting her.

How do you feel about performing in L.A. for the first time on your U.S. tour?
I’ve been to Los Angeles before in meetings with my agents and stuff like that, and it felt like a movie. It’s Hollywood vibes and I’ve never felt that energy in my life. It’s really special getting to perform all my songs that are not just in Spanish, but in Costeñol [the costeño dialect of Spanish] at the Roxy. I’m going to wear outfits with cultural designs and perform traditional dances that have been part of my life, ever since I was literally in my mom’s belly. Los Angeles is a coastal city too, so there’s something that connects us.

What are your thoughts about being nominated in the category of best new artist at this year’s Latin Grammys?
Everyone says it’s a really important category, because you can’t be nominated twice. You can only be nominated once in your career. Hopefully I’ll go to Las Vegas for that Latin Grammy and I’ll take it over to la costa.

What will you do if you win the award?
Maybe I’ll do a concert at home. I want to do something that feels honest and authentic, because that’s what led me to being nominated. I dream of becoming a bearer of my culture. What better way to do it than being recognized in the eyes of the Latin Recording Academy?

What was the inspiration for your latest single “Compa Coleto (Uy_Como)”?
My muse is always my tiburón, my shark. It’s no secret that I’m in love. It just makes sense to talk about him in these really loving and cool songs. It’s a song with flirtatious vibes. When you understand the song’s lyrics, it just makes sense to flirt that way and have fun with it.

Who do you want to collaborate with in the future?
I would love to collaborate with Shakira and Beéle. I feel they do a lot for Barranquilla as well. I would love to collaborate with Bomba Estéreo from Santa Marta. Maybe I’ll do vallenato music with Silvestre Dangond. That would be really cool. Felipe Peláez has an amazing voice. It would be cool to bring these sounds of our own to the world.

Movie stars are an endangered species. They still exist, sure. Their beautiful faces still fill 50-foot screens, beaming down on us. Yet, there is a shortage of, say, Michael Douglas. A man who, over the span of decades, played an American president, a troubled detective, and a Wall Street tycoon so convincingly that the FBI recruited the actor to do a PSA for investment bankers about the perils of financial fraud.

The night before I meet Michael Douglas on Zoom, I have a hard time sleeping. I want to be well-rested before I meet the leading man — perhaps one of the last leading men from an era in Hollywood that felt limitless. What do I mean by that? He’ll tell you. His new memoir details his movie-making career as a prolific producer and actor, along with his affair with his “Romancing the Stone” co-star Kathleen Turner, mudslides in Mexico, snorting cocaine with O.J. Simpson, encounters with Princess Diana and screaming matches with Paul Verhoeven that end in blood. In short: the life of a movie star.

“People say to me: Michael Douglas. When I see your name, I don’t know what I’m going to get, but I know it’s going to be good,” Michael Douglas says.

(David Urbanke / For The Times)

Halfway through our conversation, something unanticipated happens: Douglas reveals that he doesn’t quite see himself as a movie star. After gentle pushback, he elaborates. Instead, Douglas sees himself as a chameleon.

“People say to me: Michael Douglas. When I see your name, I don’t know what I’m going to get, but I know it’s going to be good,” he says.

He’s speaking from his home in New York. Behind him is a moody 18th-century Orientalist painting, its scene too indistinct for me to make out. His smiling face — which, like most American moviegoers, I had watched 50 feet tall in the dark — glows with warmth even on my laptop screen. It seems abnormal even to witness him in miniature.

To be clear: Michael Douglas is a movie star, whether or not he wants to cop to it over Zoom. It’s in his blood. His father, Kirk Douglas — born Issur Danielovitch to Russian Jewish immigrant parents — was a legendary actor whose shadow Douglas struggled to escape, as he details in the early chapters of his memoir. He spent his childhood on movie sets, watching his father spar with iconic directors like Stanley Kubrick. Michael Douglas was subject to violent and angry outbursts as well. “Dad’s volatility kept us on edge,” he writes. He felt suffocated by his father’s legacy, often hoping to shake the title of “Kirk Douglas’ son.”

Early in his career, Douglas left his starring role on TV’s “The Streets of San Francisco” after producing his first film, “One Flew Over the Cuckoo’s Nest,” which became a breakout success. On that film, he had to deliver the shattering news to his father that he was too old to play the lead — essentially, firing his father from his dream role. It was a betrayal. Instead, the role went to Jack Nicholson, who would later win an Academy Award for his humanizing portrayal of Randle McMurphy. The film won multiple Academy Awards, launching Douglas’ career as a heavyweight producer and later an actor. Escaping the shadow of being Kirk Douglas’ son has been a lifelong battle for the actor.

(Grand Central Publishing)

Occasionally, inheritance can be a burden. In his own life, Douglas details how he was a distracted father and husband who lost sight of his son, Cameron Douglas. During Cameron’s childhood, Douglas was elsewhere — on location in the Mexican jungle in “Romancing the Stone,” then a disastrous film production in Morocco for “Jewel of the Nile” that included a fatal plane crash that resulted in three crew members’ deaths. To cope with the breakneck pace of show business, Douglas sought refuge in women, cocaine and work.

Cameron’s troubled youth reached a crescendo when he was sentenced to five years in federal prison for drug smuggling, with an additional sentence for drug possession in prison — serving seven years in the end. It was enormously painful for Douglas, who also struggled with addiction, and had sought out treatment to provide an example to his son.

In a late chapter, he recalls confiding in Rob Reiner, who also had a son who struggled with addiction issues. In the memoir, Douglas addresses the killing of Rob and Michelle Reiner in December 2025; their son Nick has been charged with murder. “We both had sons with serious drug issues and we both, at times, had been at the end of our rope,” Douglas writes. “It was a heartbreaking confessional for us, but I know we gave each other some measure of comfort during the hard times.”

Why trudge through movie history, turning over every stone and every wound, in a nearly 500-page memoir? Because, according to Douglas, it’s time.

“Your 80s may be a good time to share,” the actor says, who recently turned 82. “People interested in movies, we give them a certain insight into the process, and maybe they could learn something. For others, it’s just gossip.” His battle with Stage 4 oral cancer brought the contours of his life into stark relief, sharpened by seven weeks of radiation and chemotherapy. His official diagnosis was tongue cancer, but he told the public he had throat cancer, hoping to stall speculation in the press about the possibility of disfigurement — and, more specifically, the prospect of losing his tongue. It was isolating, and Shane Salerno — the memoir’s co-author — stayed by Douglas’ side.

Michael Douglas.

(David Urbanke / For The Times)

As much as Douglas’ memoir, “One Helluva Ride,” is a revealing and delightful account of a life in show business, it is also a love letter to California — a place where Douglas spent much of his adult life, beginning at UC Santa Barbara. The college travel brochure read: campus by the sea. “I remember the cover of it was a guy walking down the beach with a surfboard, two girls in two-piece bathing suits. In 1963, I never saw a two-piece bathing suit back east.” He was sold.

The California years made an impression. Douglas is still, at heart, a hippie. Raised in stiff East Coast prep culture, he was reborn in the California sunshine. “I transferred into becoming a hippie, influenced by the Maharishi Mahesh Yogi, hallucinatory drugs, and the world that existed in the early ‘60s in San Francisco.”

Strangely, Douglas argued that some of the utopic sentiments of the 1960s are returning. “People are beginning to look back at that time, and realize how important family is — cooperation, sharing,” he says. “Socialism is not a four-letter word or something that’s terrible. There are other things to pursue in life other than just making money.”

“Your 80s may be a good time to share,” Michael Douglas says.

(David Urbanke / For The Times)

Like the characters he portrayed, Douglas is far from perfect. He admits that he struggled — in his first marriage, and later as a father. After marrying Diandra Luker, Douglas was unfaithful, having relationships with co-stars, most notably Turner on the set of “Romancing the Stone” in the Mexican jungle. The two denied the relationship for years. Now, with Turner’s blessing, Douglas writes about their involvement in his memoir.

Before Turner, there was Diane Thomas, the film’s waitress-turned-screenwriter, with whom Douglas had an affair. Thomas’ life was tragically cut short in a car accident involving a Porsche that Douglas had gifted her.

Then there were the rumors. On the set of “Basic Instinct,” some speculated that Douglas and Sharon Stone were having an affair. They weren’t, he explains. Douglas was instead locked in a power struggle with director Verhoeven, who, during one particularly heated argument with the actor, suffered a burst artery in his nose, turning the confrontation into a bloody scene. Douglas, meanwhile, was involved with another co-star, Jeanne Tripplehorn. “They were so focused on a possible relationship between Sharon and me, they missed the real relationship happening between me and Jeanne,” he writes.

When he and his current wife, actor Catherine Zeta-Jones, made it official, Douglas went to the other room to make breakup calls to five other women. (By this point in the memoir, Douglas has enough goodwill to pass this off as charming.) “From the moment I met Catherine, and we formed our family, I was a new man,” he writes.

The memoir enshrines Douglas’ petty show-business grievances too: a repaired grudge against David Letterman, a TV co-star who stole his longtime girlfriend, and a bouquet sent to Julia Roberts to apologize for his drunken buffoonery. In Douglas’ words: “There’s two or three people that I share my hostilities with.” He clashed with Brian De Palma, who was originally attached to direct “Fatal Attraction” and tried to have Douglas fired. De Palma underestimated Douglas and was replaced by Adrian Lyne. Years later, De Palma apologized, but Douglas rejected it.

It is impossible to tell the story of Douglas’ career without the women he encountered. The films he championed helped establish a new type of female lead — in all their powerful, morally ambiguous and deranged glory. “An actress was not allowed to play a villain,” he says. In “One Flew Over the Cuckoo’s Nest,” the actor struggled to cast Nurse Ratched. “A whole number of leading actresses turned that part down until we found Louise Fletcher, who went on to win an Oscar.”

For Glenn Close, Sharon Stone and Kathleen Turner, acting opposite Michael Douglas was transformative. After her role as a murderous, sex-crazed bisexual in “Basic Instinct,” Stone became one of the biggest stars of the 1990s and earned an Oscar nomination for Martin Scorsese’s “Casino.” Close‘s portrayal of the mistress-turned-lovesick psychopath in “Fatal Attraction” earned the actor her first lead Oscar nomination after three supporting nods. Turner went from being primarily known as the sexy femme fatale of “Body Heat” to a Golden Globe-winning star with box-office clout after her collaboration with Douglas. Sure, she sued him, too, but their friendship survived.

However, it wasn’t until his role as Gordon Gekko, the fast-talking, impulsive tycoon in 1987’s “Wall Street,” that Douglas was in full force, winning an Academy Award for lead actor. Directed by Vietnam veteran Oliver Stone, Douglas delivered an unforgettable performance about the dangers of unchecked capitalism and greed. At an early New York screening, Douglas recalls Wall Street traders being stunned by the film’s stinging accuracy. “A lot of the Wall Street characters were there, very cocky at the time; they all were shocked because we caught them.”

To his surprise, Wall Street financiers approached him on the street to praise Gekko — anointing him as their hero. “I said, ‘I was the villain.’ ‘No, no, no,’” he said. “So it showed me a lot.”

It speaks to Douglas’ gifts as an actor that he could transcend the caricature of white male entitlement he portrayed with such precision. In “Falling Down,” filmed during the 1992 uprising triggered by the Rodney King verdict, Douglas plays an unemployed defense worker, a man so consumed by disillusionment and blinded by his own sense of victimhood that he cannot recognize the harm he inflicts on others. The character would prove eerily prescient, anticipating an archetype that would take shape in the decades to come. An entire generation mistaking the actor’s brilliance as an invitation.

Perhaps that is the strange thing about being a movie star: Audiences decide who you are, and what you mean to them. For a chameleon, an actor who spent a lifetime resisting other people’s definitions of him, that might be the ultimate paradox.

As our conversation winds down, I remind him of his immense contributions to filmmaking, through producing and acting. It seems redundant, but I say it anyway. His response is polite.

“Quirky,” he said. “‘Falling Down,’ ‘The War of the Roses’ — I love those quirky films.”

“I’m proud of my movies,” he says. “I’m very proud of my movies.”

Connors is a culture journalist in L.A. She covers books, food, entertainment and offbeat Los Angeles. She’s currently at work on a book of essays about tourism in all its forms.

The slogan of the 1933 Chicago World’s Fair, which plays a prominent role in the new LACMA exhibition “Home of the Future, 1925–1985: Designing Domestic Utopias,” was blunt: “Science Finds, Industry Applies, Man Conforms.”

Those words capture a central tension in the sprawling show, which occupies interconnected galleries at the far end of the museum’s Resnick Pavilion. Many of the beautiful, sometimes ingenious products and technologies developed with the rise of the modern era gripped the popular imagination and made life easier, healthier and more connected. But they didn’t free people from domestic labor or deliver the prosperity and security heralded by their promoters. They instead often raised expectations, forced dependency and gave rise to a vision of progress that reinforced social exclusion, bred anxieties about status, and concealed the environmental costs of a culture built on consumption.

Sound familiar?

The desire for these transformative products was never innate, and LACMA’s exhibition zeroes in on that idea from the start. “Good design is seldom accepted. It has to be sold,” Midcentury photographer Julius Shulman is quoted as saying in the catalog.

The show traces the hard sell of a domestic utopia via world’s fair posters, model home catalogs, magazine advertisements, television specials and science-fiction imagery — along with close to 200 physical objects of every sort, including kitchen appliances, electronics and furniture. In each of its four documented eras — pre- and post-Depression, post-World War II, the height of the Cold War, and the counterculture ’60s and ’70s — promoters dressed the same promise in new terms, whether through cleanliness, leisure, security or freedom.

Arthur Radebaugh, “Closer Than We Think! Robot Housemaid,” 1959.

(Chicago Tribune / TCA, photo courtesy San Francisco Academy of Comic Art Collection, Billy Ireland Cartoon Library and Museum, Ohio State University)

At every turn a vision of a better life was made to seem desirable and, just as important, inevitable. Like any good advertising, it worked best when soothing our anxieties and tapping into our fantasies.

In the 1920s and ’30s, new discoveries about hygiene inspired products by soaring talents in the nascent field of industrial design who set out to create clean, easily maintained homes — laboratories for healthy living in an age still ravaged by diseases like polio and tuberculosis. Mathias J. Weber and Russell E. Vanderhoff’s seductively streamlined Health-o-Meter scale gave the illusion that homeowners could be scientists, for the first time monitoring their own weight and growth. Kohler’s Integra, introduced as “the toilet of the future” at the Chicago fair, had a dramatic black finish made to equate sanitation with modern design. And Bruce Goff’s gleaming Vitrolite kitchen for Libbey-Owens-Ford glass company, shown in Charles Turzak’s rendering, integrated pigmented structural glass counters and cabinets into a polished, easily cleaned whole.

American Stove Co., Magic Chef stove, series 1400, introduced 1935.

(Lynton Gardiner / The Wolfsonian–Florida International University )

Vast expansions in electricity, telecommunications and production promised to connect the country and ease the tedious work of cooking, washing and cleaning. The American Stove Co.’s Magic Chef stove, one of the first ovens to be equipped with a clock, recast kitchen work as something that could be measured and controlled. Frank G. Brotz’s Kohler Electric Sink, which incorporated a motorized dishwasher into the familiar basin, promised release from the “thrice-daily drudgery” of washing dishes. Western Electric’s clear-cased Model 302 telephone enticed gawkers with an impressively complex system of wires and mechanisms.

George R. Lum for Western Electric Co., Telephone, model 302, desk set 1938.

(AT&T Archives and History Center)

Many of the names who dreamed up these wonders are now etched in design history. Isamu Noguchi created a baby monitor before baby monitors were a thing: the Radio Nurse, a dark Bakelite receiver resembling an abstract face. Walter Dorwin Teague gave corporate products a precise, machine-age polish, while Raymond Loewy brought the same sleek optimism to objects like the globe-shaped New World radio for Colonial Radio Corp., molded in glossy, heat-resistant Catalin and embodying quite literally the new reach of communications.

Lester Beall’s Rural Electrification Administration poster.

(The Resnick Collection)

Selling this promise of a technological future to those clinging to the dream of American prosperity was an especially potent exercise during the Depression. In his illustrated 1932 manifesto “Horizons,” Norman Bel Geddes cast “new design” as a path toward “economy, efficiency, comfort and happiness.” As the economy faltered, an orderly, healthy home could be sold as a form of salvation, with prosperity seemingly within reach. At the Chicago fair, corporations sponsored full-scale model homes and filled them with products already available or soon to be. For rural households still without electricity, Lester Beall’s 1937 Rural Electrification Administration poster “Wash Day” turns federal infrastructure into a household fantasy. Inside the black silhouette of a farmhouse, a pristine white washing machine appears at an almost monumental scale, set against flat fields of saturated color.

Irving Harper of George Nelson and Co. for Herman Miller Inc., Marshmallow Love Seat, model 5670, designed 1956, this example made c. 1960s.

(Jonathan Urban / Museum Associates / LACMA)

By the ‘40s and ‘50s, the postwar home and its many accouterments — powered by wartime advancements, growing abundance and an ethos of “buy now, pay later” — amplified the promise. Plastic, prefabrication and push-button convenience suggested that mass production could bring elegant, futuristic living — and freedom from drudgery — within reach of the masses. George Nelson treated furniture as a flexible system, producing (with designer Irving Harper) the candy-colored Marshmallow Love Seat; replacing conventional upholstery with 18 brightly colored circular cushions mounted on a spare steel frame. Eero Saarinen produced the molded-fiberglass Pedestal chair, sweeping the seat and stem into a single sculptural form intended to eliminate what he called the “slum of legs” beneath tables and chairs.

Eero Aarnio for Asko Oy, Ball Chair, designed 1963.

(Jonathan Urban / Museum Associates / LACMA)

Architects attempted to make the home itself into a sexy product. At Disneyland, Monsanto’s House of the Future, designed by architects Richard Hamilton and Marvin Goody, was a gleaming, cross-shaped structure of molded plastic, raised above the ground on cantilevered supports and partnered (in renderings) with a plastic heliport. Its kitchen featured molded surfaces and electric appliances. Promotional images and films conjured a playful, adaptable and benevolent house — plastic as the building block of family happiness.

Buckminster Fuller’s Dymaxion house was an aluminum, factory-made “dwelling machine” that could be delivered by air and assembled almost anywhere. Its unified form, modular furnishings, water-recycling system and labor-saving technology promised a more efficient life, less tied to conventional building and household routines.

Hamilton & Goody Architects, Monsanto House of the Future, 1956.

(MIT Museum)

Institutions like the Museum of Modern Art and magazines like Arts & Architecture promoted prototype homes from now legendary industrial designers and modernist architects like Saarinen, Charles and Ray Eames, Marcel Breuer, Albert Frey, Gregory Ain and even Frank Lloyd Wright.

Effective pitches could turn a product, whatever size, into a fantasy of freedom. In the General Motors film “Design for Dreaming” (1956), directed by William Beaudine, a woman enters a fabulous kitchen as if in a magical dream. The promise, said curator Wendy Kaplan, was that the fictional woman would have more time for “tennis and hanging with … friends.” The dream even hinted at a life beyond domesticity — perhaps even freedom to “actually have a profession,” Kaplan added.

But the housewife in these displays was still expected to remain responsible for the home. Liberation came through a more efficient kitchen, not a change in who cooked. And appliances that reduced some labor often raised the bar: more frequent washing, more cleaning, more elaborate meals, as University of Chicago home economics professor Hazel Kyrk described in “Economic Problems of the Family.”

Frank G. Brotz for Kohler Co., Electric Sink, introduced 1926, this example 1928, Kohler Co.

(Kohler Archives)

That universal “everyone” did not, however, include everyone. Government-backed home ownership and the suburban boom excluded many Black, Latino and Asian Americans through redlining, restrictive covenants and discriminatory lending — a fact reflected in the almost complete absence of minorities in these vast selling campaigns.

A few welcome exceptions on the creators’ side are architect Paul R. Williams’ “Small Home of Tomorrow,” which proposed a simple, well-designed home fitted with gee-whiz appliances; Arthur Elrod and William C. Raiser’s swirling, vivid orange Ebony test kitchen, which treated cooking as creative craft; and the proposed multiracial community of Soul City, founded by Floyd McKissick, which imagined homeownership as a claim to economic autonomy that segregation denied.

The vision of a utopian domestic future took a strange turn during the Cold War, marrying the breathless excitement of the space age with the existential dread of nuclear annihilation. The same scientific power that had transformed lives now produced weapons capable of destroying humanity. The home was imagined as both shelter and command center.

Office of Donald Deskey Associates. Drawing, design for Undersea Lounge: Scheme 3 Interior Perspective, ca. 1960s. Designed by Russell Heston (b. 1929).

(The Estate of Donald Deskey, courtesy Cooper Hewitt, Smithsonian Design Museum / Art Resource, NY)

As the age’s potent mix of terror and delirium spun on, designers and illustrators proposed ways to live comfortably in space, underwater or in underground bunkers. Paul László’s “Atomville, U.S.A.,” a vision of suburbia half a century in the future, buried the family home beneath an earthen shell that doubled as a helicopter landing pad. Its sunken gardens and swimming pool promised comfort, while a blast door, escape hatches and air filtration protected against nuclear fallout. Donald Deskey Associates imagined a hypnotic “Undersea Lounge,” a self-contained interior for living beneath the water, while NASA illustrator Rick Guidice vividly depicted physicist Gerard K. O’Neill’s proposed Stanford Torus — an enormous, wheel-shaped suburb in space.

Bob Lerner for LOOK Magazine, Anne Anderson in RCA Whirlpool Miracle Kitchen, 1959, kitchen designed 1956.

(Library of Congress, Prints and Photographs Division, LOOK Magazine, Photograph Collection / Robert S. Lerner Photography, LLC)

An endless array of products leaned into the public’s awe at the age’s sci-fi possibilities. This included prescient pieces ahead of their time, like the video-enabled AT&T Picturephone, and those that would never come to pass, such as the RCA Whirlpool Miracle Kitchen. The latter’s spread in Look Magazine (displayed for crowds at the 1959 American National Exhibition in Moscow) showcases a Roomba-like vacuum and other astonishing appliances that seem to work by themselves. But men hidden behind two-way mirrors actually operated them. Others, like the two-wheeled Ford Gyron Remote Control Car of the Future, only managed to come to life as children’s toys; and some were just plain ridiculous, like Honeywell’s H316 Kitchen Computer, which required a two-week training course just to retrieve a recipe.

Honeywell Inc.; Computer Control Division; Neiman Marcus, H316 Kitchen Computer, 1969.

(Mark Richards / the Computer History Museum)

By the late 1960s, confidence in technological progress was fraying. Environmental damage, plastic waste and the conformity of suburbia prompted designers and countercultural communities to imagine other ways of living — up to a point. The residents of Drop City, a Colorado artists’ community, built domes from the curved steel tops of salvaged cars. Architects Barry Simpson and Charles Hosford made a folding stool that could serve as a seat, stepstool or side table. Small, portable, multipurpose designs, from inflatables to cardboard furniture offered a life with fewer possessions. The Whole Earth Catalog, founded by writer and editor Stewart Brand, promoted ecological knowledge and self-sufficiency, but was still a compendium of things to buy.

Companies, too, found ways to sell all natural products, flexibility and individual expression. Zanotta advertised the first beanbag chair, the polystyrene-filled “Sacco,” as “A Big Bag, a Soft Seat.” Its formless body accommodated slouching, lounging or lying down, selling freedom from both conventional posture and the bourgeois living room. Even resistance to consumerism could be packaged as a new consumer ideal.

The pairing of objects with their promotional campaigns is the show’s most illuminating contribution, shedding light on the massive, often strange apparatus needed to drive these incredible designs — some icons, some welcome surprises — forward in each age. It reveals how the country’s 20th century manufacturing prowess expanded into the production of dreams. Corporations, government and the media taught consumers what progress should look like, which anxieties a product might soothe, and what kind of future to desire.

Isamu Noguchi; Zenith Radio Corporation, Radio Nurse receiver and Guardian Ear transmitter with original box, 1937.

( Museum Associates / LACMA)

But the sheer abundance of objects — I haven’t even mentioned the fascinating companion show-within-the-show, “The Kitchen and Its Discontents” — leaves less room for examining those campaigns and the work they performed. The excellent catalog follows those connections further, tracing how often hypnotic visions of the future home both reflected and shaped ideas about lifestyle, progress, gender, race, labor and consumption; in the galleries, those ideas remain largely suggestive.

Still, the exhibition offers a revelatory history — and a telling roadmap to our present. While the future imagined here made life easier, cleaner, more beautiful and more exciting, it did not arrive as advertised. The plastic home didn’t remake housing; the automated kitchen didn’t free women from domestic work; the self-sufficient home gave way to new forms of reliance. Yet a similar techno-utopian pitch survives in today’s smart homes and domestic technologies, from assistants like Alexa to artificial intelligence marketed as a way to make life easier. These tools may offer real benefits even as they addict and distract us. And while the systems sustaining our comfortable, consumption-driven lives launch us toward climate disaster.

These rooms powerfully evoke what Kaplan in the catalog calls America’s “restless forward motion, powered by the conviction that tomorrow’s design would solve today’s problems.” That ingenuity is worth celebrating. But its promises deserve open-eyed scrutiny.

Just over two years after the U.S. Air Force retired the last of its KC-10A Extender aerial refueling tankers, four of those aircraft may be bound for a new career in North Africa for a mysterious end user.

The Air Force Life Cycle Management Center (AFLCMC) put out a contracting notice yesterday “solely for information and planning purposes” with the express intent “to identify potential industry sources that possess the capability, expertise, and facilities to execute the regeneration, one-time flight clearance, depot-level return to service, worldwide ferry delivery, in-country Contractor Logistics Support (CLS), and operational/maintenance training for up to four (4) KC-10 Extender aircraft.”

The KC-10s could be “transferred via Excess Defense Articles (EDA) to a partner nation in North Africa,” the notice adds, without naming the country in question.

The Air Force operated KC-10s between 1981 and 2024. TWZ has reached out to the U.S. Air Force, as well as the U.S. State Department, for more information. The State Department directed us to contact the Pentagon.

The EDA program allows for materiel deemed extraneous to U.S. military needs to be transferred to allies and partners either at a reduced cost or as a grant. The foreign nation in question has to pay for those assets to be delivered, as well as refurbishment, if applicable.

It is important to note here that the Extender, as designed, is capable of refueling receivers using either the boom or the probe-and-drogue method. Tankers equipped for the probe-and-drogue method are, by far, more common internationally. We will come back to this later on.

While we don’t know what the North African country might be in line now to receive the quartet of KC-10s, Egypt and Morocco would seem to be the most likely candidates based on their current and planned aircraft inventories. They are also both major U.S. allies.

The Egyptian Air Force currently does not operate any dedicated aerial refueling tankers. The country is in the process of acquiring two new C-130J-30 Hercules aircraft for use as airlifters, as well as tankers, using the probe-and-drogue method. It does already fly C-130s, but none explicitly configured for aerial refueling duties. Egypt also has a very diverse array of fighters that includes U.S.-made F-16 Vipers that can only be refueled in mid-air via boom.

Morocco’s Air Force also flies F-16s and is in the process of acquiring more. The first new-production Block 72 F-16D for the Moroccan Air Force just flew for the first time earlier this week. Morocco does have an organic aerial refueling capability now, but in the form of C-130s equipped to dispense fuel via probe-and-drogue.

As mentioned, the KC-10 was designed to connect with receivers via probe-and-drogue, as well as boom, and could be used to refuel other tactical jets in Egyptian or Moroccan service. As an aside, fighters belonging to both regularly receive foreign tanker support during exercises, as already seen earlier in this story. Just last month, Chinese YY-20 tankers (also sometimes referred to as Y-20Us) notably did just this in an exercise in Egypt.

Whichever country may be in line to receive the four KC-10s, there is a question about the current state of those aircraft. Earlier in this story, we talked about the Extender’s capabilities as designed.

McDonnell Douglas (since absorbed into Boeing) delivered a total of 60 KC-10s to the U.S. Air Force between 1979 and 1987. The Extender was derived from the three-engine DC-10 airliner, the last of which was produced in 1989. The Air Force lost one of its KC-10s in an accident in 1987.

Of the remaining 59 KC-10s, 10 were put up for auction in a non-flyable state last year. For reasons that remain unclear, a single engine had been removed from under one of the wings of each of those aircraft. These Extenders were also among the first to be retired, and their booms had been stripped to be used as spares for the examples that remained in service until 2024. Private aerial refueling contractor Omega Air looks to have subsequently won those auctions. Omega also operates two ex-Dutch KDC-10 tankers, which are broadly similar to the KC-10, as well as another DC-10 converted into a probe-and-drogue-only tanker. The company has several Boeing 707-based tankers, as well.

The condition of the remaining 49 Extenders is unclear. Congress included a provision in the annual defense policy bill, or National Defense Authorization Act (NDAA), for the 2026 Fiscal Year that required the Air Force to preserve remaining retired KC-10s, but only stipulated they be maintained “in the same storage condition” they were in as of September 30, 2025. The bill, which was signed into law in December 2025, also made clear that the Air Force could still “dispose” of the aircraft in accordance with existing property management statutes.

Regenerating military aircraft, especially larger ones, back to service can be costly, complex, and time-consuming, even when they are kept in storage in a highly maintained state. In this particular case, acquiring KC-10s via the EDA program, with a very low up-front purchase price, could still be attractive to the right buyer, especially compared to the cost of acquiring new-production tankers.

For a country like Egypt or Morocco that has never operated a boom-equipped tanker, second-hand Extenders could be a valuable entry point to future aerial refueling capabilities, as well. In general, organic aerial refueling capability is an important force multiplier for any air arm.

There is a possibility that KC-10s could be regenerated not as tankers, but as cargo aircraft, though this seems less likely to be the case. Cargo carrying was also an important duty for the Extenders while in U.S. Air Force service, and they still could operate in this role even when returned to service as tankers.

Though the aging KC-10s were getting increasingly more difficult to operate and maintain, the Air Force’s decision to retire them was still controversial. The Extender was a highly flexible tanker that could carry more fuel than the KC-46s that supplanted them. Clearly, there are others still interested in operating them.

It should be stressed that the AFLCMC contracting notice does not present the transfer of the four KC-10s as a done deal. At the same time, it has revealed that one of America’s partners in North Africa could breathe new life into four of these retired tankers.

Contact the author: joe@twz.com

EastEnders actress Maddy Hill has broken her silence about her real-life pregnancy away from the BBC soap

An EastEnders actress has opened up about her being pregnant the same time as her on-screen character in the the BBC soap.

In recent episodes, Nancy Carter, played by Maddy Hill, made a welcome return to Albert Square to seek advice from her younger brother, Johnny Carter (Charlie Suff) insisting that their “interfering” mother, Linda Carter (Kellie Bright), remained unaware of her visit.

However, Nancy was rumbled when she attended the hospital for abdominal pain, and was met by a shocked Linda, and her grandmother, Elaine Peacock (Harriet Thorpe). In a twist, Nandy was revealed to be pregnant but remained tight-lipped about the father’s identity.

That same day, Nancy turned up at Peacock Palace, accompanied by her baby’s mysterious father, who happened to be her sheepish elder brother Lee (Danny Hatchard).

It soon transpired that Nancy is acting as a surrogate for Lee and his partner Jess, but the couple is now separated and not on good terms. Nancy is now pursuing legal guidance from Johnny regarding custody of the baby, as Lee wants to be a single parent with no involvement from his ex-girlfriend.

As actress Maddy Hill embarks on a dramatic baby storyline in EastEnders, she has opened up about her real-life pregnancy. In a behind-the-scenes video showcasing her return to the soap after a four-year absence, the soap star spoke about what it is like expecting a child.

In the “day in the life” video on the EastEnders Instagram page, Maddy spoke about how she’s glad she doesn’t have to spend long in makeup, due to needing to go for a wee about “every 10 minutes” while pregnant.

Shortly after, Maddy went to chat with actress Kellie Bright, who plays her on-screen mum, and appeared to confirm she is expecting a baby girl.

Looking at Maddy’s bump, Kellie asked: “How is she today?”, prompting Maddy to reply, “She’s lively today”. Kellie added, “Oh, she’s a lively one,” as Maddy added that the baby liked the lunch of quiche, potato, and aubergine salad. “There’s something joyful about playing a pregnancy, even when it’s a complicated pregnancy,” she said.

Maddy’s behind-the-scenes video prompted a response from fans who “didn’t realise” that she is pregnant. Taking to the comments, one person asked: “Is she pregnant in real life? Looks very real x.” A second added: “Omg is she actually pregnant irl? Looks so real”, while a third chimed in: “Wahhhhhh such big congrats.”

“Congratulations Maddy! Good to have Nancy back!”, shared one viewer as another echoed the sentiment: “Was saying to my friend bump looks real, didn’t realise it’s her real life pregnancy, congrats Maddy!” Meanwhile, Kellie Bright wrote on the post: “I love you @maddyhill90, and I can’t wait to get my hands on that baby!!!!!”

EastEnders airs Monday to Thursday on BBC One and iPlayer